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eawy's 


cL. Ay by 
LIBRARY 


oe IM. Knoedler & Co: 
9333 | 14 East 57th St. 
oo aaa eNO New York 
ACC 


iy 
rs) 
& 


eee rar 


MR. GEORGE L. SENEY’S 


IMPORTANT selma git te OF 


Be pee PAINTINGS 


en BE SOLD BY AUCTION, ABSOLUTELY WITHOUT 
, RESERVE 


On WEDNESDAY, THURSDAY AND FRIDAY 


FEBRUARY 11TH, 12TH AND 13TH 


AT HALF-PAST SEVEN O’CLOCK P.M. 


IN THE ASSEMBLY ROOM 


- OF THE 


V ADISON SQUARE Se. BUILDING 


THE PAINTINGS WILL BE 


ON EXHIBITION DAY AND EVENING 


Bar: THE AMERICAN ART Bla eS 


’ 6 East 23D STREET, Mapison SQuARE SOUTH 


FROM JANUARY 28TH UNTIL DATE OF SALE INCLUSIVE 


AMERICAN ART ASSOCIATION, MANAGERS 


Tuomas E, Kirsy, AUCTIONEER 


NEW YORK 
1391 


oe 


eee eT Mx es nee pe 
eat pe Oa ree Ss eo a eer 


pee a 
ne 2 at : Bx 
a x z t 7 “Sie ae 
- : e: 
a 
i arte 
: SPECIAL NOTICE 
ig pops to the Assembly Reom on Might BF Saenamame 
z by Card only (no reserved seats). These Cards will 
ee ready for distribution on Thursday, February 5th. Application for 
‘ them should be made by letter. Address bias 
AMERICAN ART ASSOCIATION, Managers, ; 
6 East 23d Street, Madison Square South. 
7 Copyright, 1891, by Hj 
‘ The American Art ees |: New York og 
| 
: Press of J. J. Little & Co. 
ers _ Astor Place, New York 


- Sale: 


-M, DURAND-RUEL, 

_S. P. AVERY, Je., 
MaMescHAUS, .,. 
_Messas BLAKESLEE & en. 
"Messrs. REICHARD & CO., 

] MERICAN ART ASSOCIATION, 
cs M. VOSE, 

/— Messrs. D DOLL & RICHARDS, 
Mess WILLIAMS & EVERETT, 
Masses NOYES & CO., 

a EASTMAN CHASE, 

- Masses. JAMES S. EARLE & SONS 
| ee MEYER & HEDIAN, 

oe ay S. THURBER, 

Messrs. REDHEFFER & KOCH, 


d 


JAMES D. GILL, 
MEETOMONTAIGNAC, . . 


UNDERSIGNED will receive “orders to purchase at this 


| 
- Masses. -BOUSS@D, VALADON & CO., 


ue KNOEDLER & CO., Goupil Galleries, 
as Fifth Avenue and 22d Street 


= BRONCO (Kohn’s Art Rooms), No. 166 Fifth Avenue 


No. 297 Fifth Avenue 
No. 368 Fifth Avenue 
No. 204 Fifth Avenue 


. No. 303 Fifth Avenue 
3 Fifth Avenue and 26th Street — 
No. 226 Fifth Avenue 


No. 6 East 23d Street 
Providence 
Boston 
Boston - 

. Boston 
Uaeton 
Philadelphia 
Salem ore 
Chicago 

St. Louis 
Hartford 


Springfield, Mass. 


. 9 Rue Caumartin, Paris 


CONDITIONS OF SALE_ 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be immedi- 
ately put up again and resold. 


2. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if required, 
in default of which the Lot or Lots so purchased to be immediately 
put up again and re-sold. 


3. The Lots to be taken away at the Buyer’s expense and Risk 
upon the conclusion of the Sale, and the remainder of the pur- 
chase-money to be absolutely paid, or otherwise settled for to the 
satisfaction of the Auctioneer, on or before delivery; in default of 
which the undersigned will not hold themselves responsible if the Lots 
be lost, stolen, damaged, or destroyed, but they will be left at the sole 
risk of the Purchaser. 


4. The sale of any Article is not to be set aside on 
account of any error in the description, or imperfection. 
All articles are exposed for Public Exhibition one or more 
days, and are sold just as they are without recourse. 


5. To prevent inaccuracy in delivery and inconvenience in the 
settlement of the purchases, no Lot can, on any account, be removed 
during the Sale. 


6. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared within 
three days from conclusion of Sale shall be re-sold by public or private 
Sale, without further notice, and the deficiency (if any) attending such 
re-sale shall be made good by the defaulter at this Sale, together with 
all charges attending the same. This Condition is without prejudice 
to the right of the Auctioneer to enforce the contract made at this Sale, 


without such re-sale, if he thinks fit. 


THOS. E. KIRBY, AucTIonEER. 


_ARTISTS REPRESENTED. 


FOREIGN. . 
Defregger, -israels, 
= Delacroix, » Jacque, 
Demont-Breton, _ Jacquet, 
: De Neuville, ‘ Knaus, 
* Bonheur Bite), Diaz, { Laurens, 
. 3onheur (Rosa), Domingo, ‘ ~-Lefebvre,— 
; Dupré, = »-L’Hermitte, 
Dupré (Julien), «Lerolle, 
Edelfeldt, Leys, 
Fortuny, Léwith, 
Furandez, Madrazo, 
Z Frére (E.), _—Mauve, 
SI harlemont, 7Fromentin, Max, . 
“a Clairin, ,Géréme, -“Meissonier, 
4 » Clays, Grison, -Michel, 
~ Constant, Harlamoff, Millet, 
Corot, Hébert, Millais, | 
Courbet, Heffner, “*Munkacsy, 
> ES _. Henner, —Neuhuys, — 
 Dagnan- Bouveret, Huguet, ~ ' Nicol (E.), 


—_Danbieny (CF), _Isabey, 
_-Decamps. 


Davis (C. H.), 
Boughton, 


; ‘Caliga, 4 Guy, 


ae! Fuller (George), 
_ Bridgman (F. A.), Gifford (R. Swain), Knight (Ridgway), Tryon, 
La Farge (John), 


Pasini (A.), 


AMERICAN. 


Pettenkofen, 
Pokitanow,. 
Quadrone, ~ 
Rénouf, 
Rico, 
Roqueplan, 
Rousseau, 


~Roybet, 


Sala, 
Salmson, 
Schreyer, 
Stetten, 
Stevens (A.), 


.- Tissot, 


“Troyon, 
-Van Marcke, 
~Vibert, 
Villigas, 
WVollon, 
Zamagois, 


«,Zeim. 


Johnson (Eastman), Picknell, 
Jones (H. Bolton), Stewart (J. L.), 


_ Chase, "Harrison (Alex.), Marr, 


~ Coxe(R.Cleveland),Hovenden, 
_ Dannat, Inness (Geo.), 


as, 


Millet, 


Turner (C. Y.), 
Ulrich, 
Wiggins, 


Murphy (J.Francis),Wyant. 


aa i > 


INDEX TO ARTISTS REPRESENTED 


AND BIOGRAPHICAL NOTES. | 


ARTZ (DAVID ADOLPHE CONSTANT) . ; Paris. 


At an exhibition in Glasgow, in 1874, a picture called ‘‘ No 
Hope” excited a considerable degree of attention and propor- 
tionate admiration. The Scotch, even more than the English, 
have a warm spot in their heart for Dutch art ; and this expres- 
sion of it touched them. The painter of ‘‘ No Hope” found 
an encouragement and patronage from them that have continued 
to this day. Adolphe Artz, as he has chosen to abbreviate his 
name, was bornat The Hague on December 18, 1837. He was 
at first a pupil of Mollinger, but later of Joseph Israels, and it 
was from the latter that his talent received its direction toward 
subjects of rustic and humble life. Apart from this, Israels had 
little influence upon him, and his work shows no relationship to 
that of his master. He inclines toa brighter and more optimis- 
tic view of life, and in his water colors, as in his oils, exhibits a 
more cheerful spirit and a livelier temperament. In the former 
medium this is especially the case. He made his first impression 
as a peasant painter, but during later years, possibly on account 
of his impatience at the suggestion that he had taken his cue 
from Israels, he gave his most conspicuous attention to the life 
and character of that amphibious portion of the Dutch people 
who dwell within reach of the sea, and gain their livelihood 
from its waters. His first exhibits at the Salon won him a 


8 THE SENEY COLLECTION. 


recognition in the Paris art world, which his subsequent produc- 
tions have steadily increased, and while his popularity abroad 
has prevented his becoming familiar to the American public, 
such of his works as come to us on rare occasions find the 
hearty reception at the hands of our connoisseurs which they 
deserve. It is by his water colors rather than his oils, how- 
ever, that he has been chiefly represented on this side the At- 
lantic. 


No. 177 vening . : : : ‘ : He a) 


BENLLIURE (JOSE) . . . . . . Rome. 


A leading member of the Spanish colony at Rome, José Ben- 
lliure combines in himself the kindred gifts of the painter and the 
sculptor in a high degree. He is a native of Valencia, where he 
was born about 1858, and a pupil of Domingo, under whose able 
tutorship his talent ripened early into original brilliancy and 
strength. He secured his first honors at the Madrid Salon, and 
after his settlement in Rome became a popular exhibitor at the 
exhibitions of Italy and Germany, whose medals followed that 
of his native country. At the Munich Exhibition of 1889 his was 
one of the works purchased for the National Art Museum, and 
they are received with equal favor in England, where they figure 
in the leading private collections. Sefor Benlliure is one of the 
artists pensioned by the Spanish government for residence in 
Italy, and some of his most successful and ambitious composi- 
tions have been executed to the order of the state for the decora- 
tion of public edifices. His fine color, spirited technique, and 
close appreciation of the picturesque place him among the fore- 
most of the bright galaxy of artistic stars who sustain for Span- 
ish art to-day the honors won for it by Fortuny. 


PAGE 


No. 302 Christmas Eve . : ‘ ; ‘ . 289 


INDEX AND BIOGRAPHICAL NOTES. 9 


MRE TPIERRE) oc. Paris, 


A pupil of Jules Breton, who would never be suspected of his 
master from his works—such is Pierre Billet. He is a native of 
Cantin, in the Department du Nord, France, and began life as a 
manufacturer of beet-root sugar and a distiller of alcohol in 
his father’s factory. He had a decided talent for art, which he 


practised in his leisure ; and Jules Breton, who was a friend of 


his family, encouraged him to abandon the trade which was dis- 
tasteful to him, and develop his artistic gifts. He accepted the , 
suggestion, and from his friend and master gained the founda- 
tion of his technique. Always independent and self-reliant, he 
separated himself from his master as soon as he found himself 
insensibly falling into an imitation of his manner, and from 
that period had no instructor but practice and his own common 


sense. The wisdom of his decision was soon made manifest. 


His first Salon exhibit, in 1867, a “‘ Young Peasant,” might 
have been painted by Breton. His ‘‘ Women Cutting Grass,” 


sat the Salon of 1873, proclaimed his originality at once, and 


gained for him a third-class medal. At the next Salon he secured 
a medal of the second-class with a similar subject, ‘‘ Women 
Gathering Wood,” and his vocation was decided. He took his 
place among the men of the first promise of his generation, and 
went to the source of his true inspiration for his subjects. The 


. peasantry and the fisher-folk are his models, and he paints them 


on the spot. Without extenuating the bareness of their lives, 
he contrives to give them always a redeeming trait of pictu- 
resqueness ; and while a realist in principle and practice, he posi- 
tively rejects the Courbet theory that extremes of ugliness or 
repulsiveness are artistically tolerable, if an artist chooses to 


perpetuate them. He is an excellent colorist, a forcible 


draughtsman, and a master of atmospheric effect. Asan etcher 
he has won distinction by plates executed with such simplicity, 
force of line, and vigor of expression that he has been hailed 
among the masters of this great art of the past, which he 


assisted to revive. 
PAGE 


172 The Mussel Gatherer : i257 


IO THE SENEY COLLECTION. 


BOGGS (FRANK M.) ; : : , ; ; Paris. 


The French, who are always keenly appreciative of the dramatic 
quality in art, were the first to hail in F. M. Boggs a painter of 
sea and shore who could not only convey the impression of what 
he saw, but of how he felt it, too. Taking for his subject the 
most commonplace city street, or the most barren waste of sea- 
foam, he contrived, by the spirit of a sympathetic touch, to 
enliven and elevate it with some exceptional quality of nature. 
The fogs and chimney vapors of a great city assuming fantastic 
modulations overhead, a single gull and a floating spar in a 
desert of water, were in his hands enough to provide a keynote 
of interest for the least hopeful subject. The artist is the man, 
and in Mr. Boggs’ own life is to be found the secret of his 
mastery of a charm which holds many in spell they know not 
why. Born at Springfield, O., in 1855, it was not until 1880 
that he appeared in the Salon as an exhibitor. Previous to his ~ 
passage to Paris, he had practised scenic art in this city, and in 
the experience of handling great spaces of background for living 
tableaus had acquired that command of the incidental and 
dramatic which gives his works in his loftier walk of art their 
vital significance. His recognition abroad was immediate. His 
first Salon picture was talked about. His second, in 1881, was 
purchased by the French Government for the Luxembourg collec- 
tion. This was a representation of the ‘‘ Place de la Bastile,”’ 
handled with striking effectiveness, yet a close adherence to the 
fundamental and characteristic facts of the subject. At the 
Salon of 1882, the French nation again set the seal of its 
approval on his art, by the purchase of his ‘‘ Port d’Isigny,” in 
which he showed, as a marine painter, a power quite equal to 
his previous manifestations in another line of subjects. Medals 
at foreign and American exhibitions followed each other in rapid 
succession, and his free and dashing style, a sort of gallant 
independence of thought and execution, as of a man who saw 
nature alive and painted her so, commanded the public admira- 
tion, while it secured the approbation of more critical and 
analytical minds. At the first Prize Fund Exhibition at the 
American Art Galleries, in 1885, Mr. Boggs secured one of the 


INDEX AND BIOGRAPHICAL NOTES. II 


$2,500 awards with his ‘‘ Rough Day at Honfleur,” which is 


now in the Museum of Fine Arts, Boston. 
PAGE 


14 View of Dordrecht . : f ’ . 136 


BOLDINI (GIUSEPPE) . : . : : ‘ Paris, 


An Italian, who paints like a Spaniard, in a studio in Paris, was 
the phrase with which a distinguished French critic once desig- 
nated the painter of ‘‘ The Parisiennes.”’ Boldini was, indeed, 
born on Italian soil, for he dates his nativity from Ferrara, but 
among the early influences to which his art was subject were the 
triumphant exploits of Fortuny and his followers, who broke 
new ground which has been fertile in a harvest of strong brushes. 
The Italian and the Spanish natures are not very widely di- 
vided in artistic tastes, but Boldini was strong enough to avoid 
becoming a slavish follower of the school from which he adopted 
its hints without copying its manner. A lover of sunlight, of 
broad daylight, and all the gayety and brilliancy of nature it 
involves, his first real successes were made with pictures in which 
he could give his taste in this direction fullest play. He pos- 
sessed; in a rare degree, the faculty of feeling light as well as 
seeing it, and of painting it as he felt it, so that his sentiment 
might reach the spectator too. Paris, to whom gayety is as wel- 
come as melancholy is abhorrent, received him with open arms 
and purses. The Italian, who came to her almost timorous of 
his future, was almost suffocated by her ardent and exuberant 
favor. Next to Paris, the United States was the readiest to rec- 
ognize and, even more generous, to encourage him. His paint- 
ing of the figure, like that of the landscapes in which he was 
most fond of setting his groups up, was of an exquisite quality 
of color and ease of handling, and in the treatment of interiors 
his keen eye and accurate hand achieved equally felicitous re- 
sults, always without the burdensome appearance of labor from 
which mere superficial finish in art must suffer. No artist of 
his nation and century has, perhaps, come nearer to reviving in 
our day the essential elegance of art in France in the last cen- 


THE SENEY COLLECTION. 


tury, when the broad path to the destruction of dynasties in a 
gulf of blood was made beautiful by the utmost refinement of 


genius with pen and brush. 
PAGE 


No. 158 After the Bath. : : “ Spe) 
No. 239 Jn the Garden of eae : : ae 2 


BONHEUR (FRANCOIS AUGUSTE) . . Deceased. 


In 1845, when all Paris was talking about the remarkable exhib- 
its made in the Salon by a young girl named Rosa Bonheur, who 
had elected to become a painter of animals, another Bonheur 
made an appearance in the galleries. This time it was a man, 
Francois Auguste by name, and a man ambitious to be a painter 
of genre. His pretensions were laughed at. It was critically 
concluded that the Bonheur family could produce only one phe- 
nomenon. But the following year, this gezve painter exhibited 
a landscape which attracted attention. In afew years more he 
was a landscape and cattle painter esteemed but little less than 
his gifted sister. Auguste Bonheur found his legitimate avoca- 
tion in the painting of landscapes with cattle, and through his 
pictures on these themes he won his successive medals and his 
red ribbon of the Legion. It is quite possible that the greater 
fame of his sister overshadowed his, and that he might have won 
a higher position in art under another name. At any rate, he 
conquered an important place for himself, and died at the age of 
sixty years, in 1884, prosperous, and with his reputation endorsed 
by the presence of his works in the national museums. Auguste 
Bonheur was one of the first of French artists to send his pic- 
tures regularly to the Royal Academy Exhibitions in London, 
and he, like his sister, enjoyed a very extensive patronage in 
England, whose collections are rich in his works. He was a 
hearty, realistic painter, with less imagination and more observa- 
tion than his sister, painting what he saw frankly and faithfully, 
and in his landscape, as in his cattle, presenting nature in an 


always pleasant and friendly aspect. 
PAGE 


. 171 Morning in the Highlands j . ~ 227 


INDEX AND BIOGRAPHICAL NOTES. 13 


BONHEUR (MARIE ROSA)... °.. ...... Paris. 


In her ripe old age, the most distinguished member of her sex 
- in the history of art can look back to her youth of trial and 
struggle over a life rich in all the rewards that perseverance can 
conquer for genius. Born of an artistic family in 1822, at 
Bordeaux, Rosa Bonheur’s entry into art was attended by a 
bitter poverty, that sometimes threatened to end in desperation. 
Her father, a worthy and industrious but unfortunate artist, 
brought her to Paris in 1830, after the death of her mother, 
and narrow as his means were, put her to school. But the girl, 
born an artist, rebelled against mere book-learning, and rather 
inclined to share with the boys their truancies in the fields. She 
had acquired some skill in drawing, from imitating her father at 
his work, and this art she cultivated at school to the neglect of 
most of her other studies. Finally, the conviction of her voca- 
tion forced itself upon her father, and he removed her from the 
seminary, and set her to copying pictures in the Louvre. From 
the start she gained a little money by the sale of her copies, 
and of little studies and pictures painted at home, and after 
assuring herself that she might hope for patronage, she turned 
her attention largely to the painting of animals, of which she 
was very fond. The oddity of a young girl choosing sucha 
field of labor attracted attentiontoher. Her ability commanded 
respect. In a modest way prosperity began to come to her, and 
with every annual exhibition her fame grew and her admirers 
multiplied. Her first original pictures were exhibited at Bor- 
deaux, in 1841. One represented two rabbits, and the other 
goats and a ram. In 1849she was made director of the Paris 
Free School of Design for Young Girls, and in 1853 she crowned 
her fame with the great ‘‘ Horse Fair,’’ now in the Metropolitan 
Museum of Art. Every possible honor has been conferred upon 
her by her own country and other European states. The high- 
est, perhaps, was that embodied in the order of the Crown 
Prince, late the Emperor Frederick, of Prussia to his army, to 
rigidly respect her house and studio, when the surges of war 
fairly washed its walls with blood. Surrounded by her pet beasts 
in her uninvaded garden, she alone, of all the artists of Paris, 


14 THE SENEY COLLECTION. 


was able to continue her devotion to her art during the great 
war that swept the last Napoleonic Empire out of existence. 


PAGE 


No. 273 Lhe Chotce of the Flock. : Sey es 


BOUGHTON (GEORGE H.) ; : : London. 


Although of English birth, and for the past thirty years a resi- 
dent of his native country, the United States still claims George 
H. Boughton as an American artist. Nor is this without reason. 
Born in England in 1834, he was brought to this country in 1837 
by his parents, and at Albany, N. Y., commenced to instruct him- 
self in the art for which he manifested talent in his earliest boy- | 
hood. It was at Albany that he opened his first studio in 1850, 
and the old American Art Union was almost his first patron. It 
was on the proceeds of its patronage that, in 1853, he went to 
Europe to improve himself in his art, and from this journey he 
returned to resume his residence in Albany, and subsequently in 
New York City, where he remained several years. His first ex- 
hibit at the National Academy of Design was made in 1858, with 
‘‘A Winter Twilight,” and it was not until 1859 that he returned 
to Europe, first settling down to study in Paris, and in 1861 go- 
ing to London, where he has sinceremained. In 1863 his pict- 
ures made their mark at the British Institution, and in 1864 at 
the Royal Academy. American collectors continued their sup- 
port, and English connoisseurs recognized and encouraged him, 
Thus began for the artist a career of phenomenal success, which 
time has only augmented. A master of technique and of an — 
original style, his pictures are also characterized by a genuine 
pathos and pure, latent sentiment that appeal to every heart. He 
tells his story in a naive and sincere way that gives value to the 
most trifling episode, and in his more important compositions, 
especially those relating to Knickerbocker history, displays a 
knowledge anda humor, allied with a faculty for realizing the spirit 
of his subject, that give to these works a sound historical signifi- 
cance. His pictures of Puritan life in New England are also of 


INDEX AND BIOGRAPHICAL NOTES. 15 


the first interest, and hé has produced some remarkable compo- 
sitions based on Chaucer and other old English poets, as well as 
many inimitable incidents of English life and subjects drawn 
from Brittany and the Netherlands. Mr. Boughton became a 
National Academician in 1871, and a Member of the Royal Acad- 
emy in 1888, and has received many continental recognitions and 
honors. 


PAGE 
No. 12 Zhe Rose pape, 7. : : : RIS5 
No. 27 Fading Light . : : : rl 4 2 
No. 86 The Gipsy Girl : : babe tre 
No. to4 Going to Church 5102 
No. 146 Zam O'Shanter : . 204 
No. 244 Charity . ; ; } ¢ 53255 
No. 263 Zhe Council of Peter the Headstrong . 267 
BOUGUEREAU (WILLIAM ADOLPHE). : Paris. 


One day in 1842 or so, there was a veritable riot among the stu- 
dents of the Alaux Art School at Bordeaux. It was occasioned 
by the award of the prize of the year to a young shopkeeper’s 
clerk, from La Rochelle, who was taking daily drawing lessons 
of two hours each, which his employer allowed him to abstract 
from business. ‘The young Bohemians had such a contempt for 
the young shopman that they resented with violence the fact 
that he should win the honor of the school above their heads. 
But Bouguereau received the prize in spite of their protests, and 
it decided his career. He determined to become an artist. His 


- family objected. He persisted, threw up his employment at 


the shop, and went, penniless, to live with his uncle, who was | 
a priest at Saintonge, and to paint portraits of the townspeople 
for a few francs each. Out of his earnings he contrived to save 


'. goo francs, on which capital he proceeded to Paris, entered the 


studio of Picot, and secured admission to the Ecole des’ Beaux 


, . Arts in°1843, at the age of eighteen years. He lived by incredi- 


16 


THE SENEY COLLECTION. 


ble shifts, finally receiving some small assistance from his family, 
until, in 1850, he won the Prix de Rome. For four years he 
was a pensioner and student in that city, and he returned to 
Paris an artist competent to the execution of great works. Pub- 
lic commissions and private patronage soon laid the foundation 
of his fortune. He became a Member of the Legion in 1859, 
and an Officer in 1876, during which year he was also elected a 
Member of the Institute—of which he has since been President. 
He has received the Medal of Honor twice—in 1878 and in 
1885—and is decorated with numberless foreign orders. In the 
face of the reaction against classicism he remains a classicist, but 
his technical knowledge is so profound, his skill so masterly, 
and his art so powerful in its intellectual vitality that he is able 
to hold his own against the strongest rush of the naturalistic 
tide, that would sweep feebler men before it. He is personally 
an interesting man, with a rigid adherence to his artistic beliefs, 
an iron resolution and indomitable will. One of the bitterest 
critical battles of our time has been fought over him, but it has 
not swerved him one hair’s-breadth from the position he has 
assumed, and has rather added to than impaired his fame. 


No. 213. Might ; : ; : é d . 239 


BRETON (EMILE ADELARD) Log) OReN REPare: 


The genius of Jules Breton appears to be a family gift. It not 
only finds reflection in that artist’s daughter, Mme. Demond- 
Breton, but also in his younger brother and pupil, Emile Adelard. 
Emile Adelard Breton, born at Courriéres in 1830, enjoys an en- 
viable reputation asa man as well as an artist. He was one of the 
artistic corps who enrolled themselves for battle against the Ger- 
mans in 1870, and itis told of him that he displayed such conspic- 
uous gallantry that his general embraced him on the battlefield on 
which his heroism had asserted itself, and in the very face of the 
enemy. The ancient sturdiness of the rural stock from which 
the Bretons spring, and which sent to the armies of France some 


iad 


= 


INDEX AND BIOGRAPHICAL NOTES. 1, 


of their best soldiers, lives in the peaceful breast of the artist 
and draws him from his easel whenever there is wrong to be 
redressed or patriotic duty done. Emile Breton’s début at the 
Salon occurred in 1861. In 1866, 1867, and 1868 he won medals 
at home, and in 1873 was honored with one at the Vienna Exposi- 
tion. This was followed by another at the Philadelphia Exposi- 
tion of 1876, and in 1878 a medal of the first class fell to him at 
the Salon, supplemented by the Legion of Honor. He is alsoa 
member of the Order of Leopold. The sterling qualities of the 
man are reflected in his works, which are also pervaded by the 
poetic sentiment which is a heritage of his family. His style 
is simple and direct, his subjects are without ostentation or for- 
mality, and his future standing among French painters of land- 
scape is assured. / 


PAGE 
Benne ee eg, 169 
BRETON (JULES ADOLPHE) : ; , Paris. 


The distinguishing characteristics of Jules Breton’s genius are 
its combination of the hand and eye of the artist of the first rank 
and the spirit of a poet of an equal distinction of merit. Born at 
Courriéres in 1827, he was schooled under Drdlling and Dévigne, 
whose lessons in technique only furnished him with a founda- 
tion upon which to create astyle of his own. Hecommenced to 
claim attention in 1849, received his first medal in 1855, one of 
the second class in 1857, and after first-class awards in 1859, 
1861, and 1867, was granted a Medal of Honor in 1872. He 
had been accorded the Legion of Honor in 1861, and was made 
an Officer in 1867. Prosperity had come with fame. He was 
admitted to be as an original and sympathetic delineator of vil- 
lage and country life of the happier order, what Jean Francois 
Millet was to its more grandiose and pathetic side. His poetic 
temperament invested his pictures with a subtle sentimental 
charm. His was an art in which the lark and the nightingale 
sang, under vaporous skies, over a rich earth refreshed with 
2 


18 THE SENEY COLLECTION. 


dews. His types of peasant women had the simple nobility of 
those ancient Gallic maids and matrons whom the Roman con- 
querors could subdue only with the sword. His men were fit 
descendants of the dauntless race that followed Henri de la 
Roche-Jacquelin into battle armed with their pitchforks and 
scythes. He preached the eternal sermon of labor, but rather 
hopefully than sadly. His peasants working in the fields, his wo- 
men at the fountain, and his men at the plough, had about them 
rustic health and a suggestion of the home where the pot bubbled 
and the hearth was warm. Recognition from his native land 
was followed by that of the world. Masterpiece after master- 
piece passed into the great collections of Europe and America. 
The sale of his ‘‘ Evening in Finisterre” and of his ‘‘ First Com- 
munion” in this city was attended with positive public enthu- 
siasm. His modesty, however, remained as inviolate as his 
fidelity to his art. The songs his soul sang his brush invested 
with form and life as tenderly as before. The humble life of 
the cottage and the field which he delineated became only the 
dearer to him from the knowledge that he had made it eloquent 
with an appeal to universal appreciation. The poet and the 
artist still reign superior in him to the mere man. 


PAGE 


No. 99 Srittany Washerwomen ., : : . 180 


BRIDGMAN (FREDERICK A.), N.A. eae Paris. 


During the early years of the Civil War in this country, a regular 
attendant at the night school of the Brooklyn Art Association was 
a modest lad named Bridgman. He was known to be the son 
of a Southern family who had long been residents of Brooklyn ; 
to have been born in Tuskegee, Ala., in 1847, and to be em- 
ployed during the day as an engraver by the American Bank 
Note Company in New York. In the class he was looked upon 
as one of the most accurate and painstaking of the students, with 
so serious a purpose that even when a rare holiday came round 
he was on hand to devote it to his own improvement rather than 


INDEX AND BIOGRAPHICAL NOTES. I9 


waste it in the useless leisure of an idle day. In 1866 young 
Bridgman ceased to be a student in Brooklyn, and it presently 
became known that he had abandoned the steel plate for the 
canvas, and gone to Paris to study art at the Ecole des Beaux 
Arts. Géréme, under whom he worked, became sincerely inter- 
ested in him, and his encouragement had doubtless much to 
do with the young man’s advancement of himself. His first 
exhibited pictures were of subjects drawn from his summer 
sketching tours in Brittany. Next, for a couple of years, he 
painted from material found in the Pyrenees, where he settled 
in 1870, From the Spanish border he went further afield, to 
Algiers, Egypt, and up the Nile. His personal movements can 
be clearly traced in his works, from his ‘‘ American Circus in 
France,” which first attracted marked attention to him, while he 
was yet almost a student in the schools, down to the latest 
records of the activity of his brush in Algiers. He commenced 
exhibiting in the National Academy of Design in this city in 
1871, in 1874 was made an Associate, and in 1881 became a full 
Academician. Meanwhile he had won his medals in Paris, and 
in 1878 had been received into the Legion of Honor. He has 
latterly devoted himself almost entirely to the class of subjects 
in which the barbaric picturesqueness of the North African and 
Egyptian peoples is still rich. Mr. Bridgman has his studio 
in Paris, but last year visited this country and made exhibitions 
of his works, which enjoyed deserved success. He has written 
and illustrated from his own sketches and pictures a book on 
Algiers and its people, the text of which is in conforming inter- 
est to its embellishments. 


PAGE 


Nornog4 4,5, C, . : P ‘ : . etd, 


BURGESS (JOHN BAGNOLD), R.A. : ; London. 


The sailor king, William IV., among the artistic appointments 
of his brief reign, made that of H. W. Burgess to be his special 
landscape painter, The son of this artist, christened John Bag- 


20 


THE SENEY COLLECTION, 


nold, was born in London in 1830. His father was his first 
teacher, after which he studied at the Royal Academy and under 
Mr. Leigh, in Newman Street, of immortal memory. His work 
in the life class of the Academy won for him the silver medal 
for the best drawing, and attracted an attention which brought 
him patronage. Accident and the necessities of his health made 
him a resident of Spain for some years, and here he found the 
material by which he won his greatest reputation. He made a 
close study of Spanish life and character, which he has delineated 
in many admirable pictures. His scene at a bull-fight, at the 
Royal Academy in 1865, gave him a fortunate introduction to 
the collectors of Great Britain, and opened up his future to him. 
In 1877, his ‘‘ Licensing Beggars”’ secured for him an Associate- 
ship, and subsequent successes resulted in his admission as a full 
Academician. Mr. Burgess now has his studio in London, and 
while he still produces Spanish subjects, he finds in native 
English gezve an expansion of his range. 


PAGE 
No. 3°4 The Frolic after the Wedding .  .  . 290 
CABANEL (ALEXANDRE) . : : ; Deceased. 


Cabanel was in fact, if not by formal appointment, the court painter. 
of the Third Empire. The opportunity which Couture threw 
away he took advantage of. The list of his portraits of this ‘period 
charms from their graves the phantoms of a shattered dynasty, 
blown to the four winds by the blasts of a murderous war. 
The emperor, dead in exile ; the heir to the lost throne butch- 
ered by savages on an alien battle-field ; the wan and haggard 
empress, whom the country she once presided over denies even 
a habitation ; the pinchbeck warriors, corrupt courtiers, knaves 
and parasites of the bubble empire, pass before one in this cata- 
logue like figures in a glass. His portraits of women are the 
best. Naturally a gentle and sympathetic man, he had the gift 
of translating female character with all of its natural grace and 
distinction. Born at Montpellier in 1823, a winner of the Przx 


4 


a 


INDEX AND BIOGRAPHICAL NOTES. 21 


de Rome at the age of twenty-two, he was a commander of the 
_Legion of Honor at his death last year. He had won all the 
medals, he had been honored abroad and at home, and he had, 
above all, as professor of the Ecole des Beaux Arts, directed 
many a valuable talent upon its successful career. A pupil of 
Picot, he painted for many years much in the style of David; but 
about 1860 he entered upon another period of his art, in which 
he produced his greatest works. Some of his decorations of 
public edifices are masterpieces which deserve to be imperish- 
able, and his ‘‘ Birth of Venus,” in the Luxembourg, is a picture 
without a peer of its order of subject. It is a proof of Cabanel’s 
power as a teacher, and of the love his gentle nature inspired in 
his scholars, that he for years directed the most popular a¢elier 
of the Ecole des Beaux Arts. He could teach without com- 
pelling his students to imitate him, which was the secret of his 
success. Bastien-Lepage was one of his ves, and so was Ben- 
jamin-Constant. Such contrasts of styles occur continually 
among his pupils, of whom it is related that at a recent Salon no 
less than one hundred and twelve were represented among the 
exhibitors. 


“ PAGE 
No. 186 ftebecca . : ; ‘ ' . ease 


CALIGA (I. H.) : 4 : : : Boston. 


The International Exhibition at Munich, in 1883, was noteworthy 
for the introduction to the public of a number of young artists 
who owed their development to the art schools of the Bavarian 
capital. Among these newcomers, one of the most striking was 
a young American who exhibited under the name of I. H. 
Caliga. Born of German parentage at Auburn, Ind., in 1857, 
the painter had, in 1878, entered the school of Professor Lin- 
denschmidt, where he had speedily proved himself one of the 
aptest pupils, and a decidedly original and thoughtful mind as 
well. The promises which his talent held forth were realized 
in 1883, and since that time he has continued to confirm with 


22 


THE SENEY COLLECTION. 


PAGE 
INGn= Sts Vealete : : , ; : : e120 
CAZIN (JEAN CHARLES) . . ° : : Paris. 


each production the impression of that by which he made his 
début, The name Caliga, which he adopted, is a Latinization 
of his family name of Stiefel, and by it he has since acquired a 
reputation that has made this brush-name a veritable trade-mark. 
His pictures are essentially representative of the modern and 
realistic tendency of Munich art, which, while it still continues 
to produce subjects with an individual interest and meaning, 
seeks in their realization to present them in a natural aspect. 
Thus there is grafted upon actualities, the figures and facts of 
life, a poetic and creative sentiment presented by executive 
methods in sympathy with the spirit of the work. Mr. Caliga 
returned to America some years since, and is now a regular and 
favorite contributor to our exhibitions. 


Jean Charles Cazin, born at Samer, Pas-de-Calais, was one of 
the pupils of that remarkable master, Lecoq de Boisbaudran, 
whose name has been assured of immortality, not through his 
own pictures, but through the genius of the scholars to whom 
he gave their development. De Boisbaudran was one of those 
rarely gifted men whose intelligence and sympathy penetrated 
the souls of his followers, analyzing their sentiments and natural 
inclinations in art and propagating them as the gardener does a 
flower, with tender and loving skill. From the studio of this 
master of masters the young Cazin won his first honors in 1876 
with his “ Dock-Yard,” following it in 1877 with ‘‘ The Flight 
into Egypt,” which confirmed his title to respectful recognition. 
He was in those days a painter of history, sacred and profane, 
and of gewre, and as such he won his first-class medal in 1880, 
and in 1882 his ribbon of the Legion of Honor. It is a pecul- 
iarity of the Boisbaudran school that it has graduated some of 
the greatest realists in contemporary art, among whom may be 
mentioned Legros, now at the head of his rank in London ; Ga- 
briel Ferrier, a sterling talent full of soul and fire, and L’Her- 


INDEX AND BIOGRAPHICAL NOTES. 23 


mitte, a painter of the people and the fields of his birth and 
boyhood, in whom the future may find a worthy successor of 


_ Millet. To their ranks Cazin has become joined, and his influ- 


ence on current art is perhaps more potent than that of any of 
his colleagues of the Boisbaudran atelier. Into the landscape art 
of France, fallen into a stagnated imitative mannerism based on 
the master-manners of Corot, Rousseau, Dupré, and Diaz, he 
has blown a breath of new and healthy life. Like his great 
predecessors, he is a naturalist, and like them he sees nature 
with the eye of a poet, made keen and lucid by the stimulus 
of inspiration, and harmonic with the echoing chords of a sym- 
pathetic soul. 


PAGE 
No. 26 An Old Windmill . : } : . 142 
pemetom) 42 Carricr’s Cart .. : ‘ PeiG 
Noy .79 Moonrise . : ae ‘ . 169 
No. 124. Zhe Full Moon ; ; é . . 193 
No. 144 Onthe Hill, . 203 
No. 216 La Matson du Garde : : : e240 
No. 243 Night in Flanders . ; ‘ ; “254 
No. 262 Moonlight in Holland ; : ; F200 
No. 272 Zhe Village Orchard : e ; a2 72 
No. 287. Weary Wayfarers . : , : . 280 


CHARLEMONT (EDUARD) . 


: Paris. 


In 1870 Hans Mackart, who in the open generosity of an ex- 
pansive nature was always quick to distinguish merit and ready 
to encourage it, discovered in the class of Professor Engerth, 
at the Vienna Academy, a young student of two and twenty 
whose work spoke well for him. He found him to be the son 
of a Moravian drawing master, born at Znain and brought up 
by his father as a painter of portraits and miniatures. Mackart 


_ took young Charlemont into his studio, and after advancing him 


to the extent of his ability, provided him with the means of vis- 


24 


THE SENEY COLLECTION. 


iting Italy. The first fruits of his schooling and experiences 
appeared in “‘ The Antiquary,” exhibited in 1872, and a succes- 
sion of picturesque gezves, generally of the sixteenth and seven- 
teenth centuries, followed and won popularity. Charlemont 
also secured consideration as a portrait painter, particularly of - 
children. His first pictures were of a style decidedly reminis- 
cental of Mackart, but with wider experience in Venice, Ger- 
many, and France, these traces of his master passed away. He 
is now settled in Paris, almost entirely given up to the painting 
of cabinet pieces in costume gezre, Charlemont’s younger 
brother is the well-known landscape and animal painter and 


etcher, Hugo Charlemont. 
PAGE 


No. jos Lu the Studio . . : : : . 184 


4 


CHASE (WILLIAM MERRITT), N.A. : New York. 


Mr. Chase has been accurately described by one of his brother 
artists as the most complete and distinctive artistic nature of the 
painters of our time and country. He is artistic in everything ; 
his tastes are repeated in his surroundings ; he lives and banquets 
on all that arouses the interest of his eye and stimulates his 
hand to work, and in his enthusiasm falters at no experiment 
and rests satisfied with no special medium. Probably no artist 
of our time has made as wide and complete a series of experi- 
ments as he. Certainly none has conquered every method with 
as much success, or covered such a range of subjects with equal 
brilliancy. Seaand Jand, human and animal life, and the inani- 
mate objects which constitute the still-life painter’s models, have 
furnished him in turn with material, and so strong is his instinct, 
so sharp his eye and skilful his hand, that he has been able 
to give to each motif some of itself, translated through him- 
self in a style that is unmistakable. Born in Franklin County, 
Ind., in 1849, Mr. Chase’s earlier artistic years were hampered 
and laborious. He had some lessons from the Western por- 
trait painter Hayes, and coming to New York, studied for a 
couple of years at the National Academy schools and under J. 


INDEX AND BIOGRAPHICAL NOTES. 25 


O. Eaton. In 1871 he settled in St. Louis, where he madea 
local reputation as a painter of still life and portraits, thanks to 
which he was able to secure sufficient commissions to enable 
him to visit Europe in 1872. He became a pupil of Piloty, in 
whose studio, so impregnated with the traditions of German 
classicism, his independent spirit almost created a rebellion. 
But Piloty was a great teacher, if not a great master. His art 
was honest and his methods sound, and his heart and brain were 
equally capacious. The radical young American grounded his 
own art in that of his professor, and then went forth into the 
art of the whole world to take his post-graduate course. While 
six years of study give Munich aclaim upon Mr. Chase as one 
of her school, he is really of an eclectic production, and Mr. 
Kenyon Cox writes truly of him in Harger’s Magazine that his 
art is more Parisian than Bavarian. The masters of the Nether- 
lands and of Spain, dead long since, have taught him priceless 
lessons out of their immortal works, for they have turned him 
over to nature, which to such a spirit as his means the source of 
all art. Returning to. New York in 1878, Mr. Chase has been 
since a resident of this country, though he has made various 
visits abroad, and his bold and determined nature has given him 
an important influence for good upon the current generation in 
American art. He isa member of the National Academy, of the 
Society of American Artists, and of a number of other artistic 
associations, in all of which he exercises the weight of a strong 
mind to which all life is art and life without art not worth the 
living. 

PAGE 


No. 2, inthe Park . ‘ ; : TREAT 
No. jy, Still Life . : 5 : . 204 
No. 553 Ln the Studio . ‘ ; ‘ 20x 


CLAIRIN (GEORGES JULES VICTOR)... Paris. 


When Henri Regnault visited Spain and Africa in quest of 
subjects, he had with him a friend who was more of a brother 
to him than many brothers are to each other. When Regnault 


26 


THE SENEY COLLECTION. 


No. 


was shot dead at the sortie at Buzenville, and his body lay for 
nearly a week among the unknown dead of that bloody field, 
this friend it was who sought it out and reclaimed it from a 
nameless grave. Clairin, like his old comrade, was born in ~ 
Paris; the two were of about the same age, and that Regnault 
had an influence on the art of the friend who has survived him 
is plain, but the influence was rather upon his taste than his 
style. Clairin is always himself. No man paints like him, and 
he has in the free swing of his brush, and his audacity of color, 
that which belongs to himself alone. It may be questioned, 
however, if he would have been as great a painter, had it not 
been for his Spanish and African journeys, with a genius as bold 
and a mind as strong as his friend’s to impress itself upon his 
own. After having continued for some years to develop the 
material he and Regnault had together discovered, Clairin, in 
the Salon of 1877, gave Paris one of those new sensations she 
loves, in his famous portrait of Sarah Bernhardt. Since then, 
though never quite forsaking his oriental subjects, he has largely 
given himself up to female portraiture, and to those character- 
istic studies of the elegant Parisienne as she lives, of which his 
‘“‘Frou-Frou”’ is a typical example. These latter he paints 
with a brush as graceful and spirited as themselves, and the 
same qualities are discernible in his portraits, of which it has 
been said that he could make the most stupid woman in the 
world look, by his touch, as if she had wit and brains. Clairin 
was born on September 11, 1843, and was originally a student of 
the Ecole des Beaux Arts, and a pupil of Picot and of Pils, who, 
without being great painters themselves, have been masters of 
some of the most gifted artists of the present school in France. 


PAGE 


96 The Puppet Show. ; ; ; shee fy 2) 


CLAYS (PAUL JEAN) : : 5 ‘ ; Brussels. 


In the studio of Gudin, Paul Jean Clays, born at Bruges in 
1819, learned his art and learned it well. He inclined to a 


INDEX AND BIOGRAPHICAL NOTES. 27 


more placid and pleasant mood of marine art than his master, 
and viewed his subjects in a more cheerful spirit. Like the old 
Dutch masters, he preferred the waters of the coast to the 
angrier currents of the deeper sea, and times of calm, of lumi- 
nous dawns and sunsets of vaporous gold, to the more energetic. 
‘and dramatic phases of nature. In 1851 he returned from Paris 
to his native country, making his establishment in Brussels, 
within ready reach of his favorite motifs. He received a medal 
for his first picture at Brussels, the year of his arrival, and a 
similar recognition at the Salon of 1867. In 1875 he became a 
member of the Legion of Honor, and an officer of the order in 
1881. He had been made a cavalier of his native Order of 
Leopold, and been medalled and diplomaed throughout Europe 
before he had turned his fiftieth year, and the popularity of his 
pictures had enriched him. While confining his subjects in the 
main to the Flemish and Dutch coasts, he has on occasions 
ventured farther afield, and scenes in the lower Thames, at 
points along the English coast line guarded by the ancient 
Cinque Ports, on the French coast, and even in the North Sea, 
attest to his just observation and to his appreciation of local 
color, and the characteristic details of localities which give them 
individuality. 


PAGE 


96 On the Scheldt . s ; , : . 168 


CONSTANT (JEAN JOSEPH BENJAMIN) . Paris. 


A picture which caused more than usual comment at the Salon 
of 1870, was the work of a young artist who had made his first 
exhibit there only a year or two before. It was entitled ‘‘ Too 
Late.” Ona miserable pallet in a wretched garret a poet lay 
dead amid the ripped-up productions of his wasted life. Over 
the house-tops the luxury, wealth, and glory of Paris sent their 
incense to the skies from ten thousand palaces, and tardy Fame 
climbed the garret stairs to carry her dead votary off to share 
them, only to find that her visit had been too long postponed, 


28 ‘THE SENEY COLLECTION. 


The gay city, which never fails to appreciate an allegory, even 
if it be at her own expense, took this one up and made the name 
of Benjamin-Constant famous. He was a Parisian of good 
family, born in 1845. He was a soldier in the war of defence 
against the German invader. A pupil of Cabanel, he had re- 
jected Cabanel’s manner totally, and in spite of the impression 
made by his ‘‘ Too Late,” had not yet settled on his true avoca- 
tion in art. It came to him by accident. Having drifted into 
Spain after the war, he commenced to experience the seductions 
of its semi-tropical life and nature, and when he went to North 
Africa with an embassy to the Sultan of Morocco, the key to 
his art was found. He became an Orientalist and the leader 
among them. His travels enriched him in themes for his brush, 
which won him wealth and the honors that are quite as dear to 
the artist. So wide a success did his oriental subjects meet 
that he fell under the reproach of being able to do nothing else. 
As a practical refutation of this charge he produced a series of 
historical compositions and characterizations quite equal in tech- 
nique and power to his previous pictures. For some years he 
occupied a curiously prominent position in Parisian art by the 
struggle which occurred over his claims to the medal of honor, 
which was the sole distinction in the gift of artistic France 
which he lacked. In 1888 he visited America, and executed 
some commissions for portraits and decorative works, a visit 
which he repeated the following year, with the result of leaving 
some important pictures in our collections. Asa writer on his 
art he has contributed to the press some papers which will be 
found of permanent value. They are sound in judgment, just 
in their estimates, and replete with ideas of practical utility and 
fertile suggestiveness. 


No. 25 flerodias , 3 ; : : ‘ 2 i4t 


COROT (JEAN BAPTISTE CAMILLE) . Deceased. 


When, in 1875, Corot laid to rest his head, silvered with seventy- 
nine years of honors, he did so with the consciousness that he 


INDEX AND BIOGRAPHICAL NOTES. 29 


left behind him a life without reproach and ripe with usefulness. 
The pupil whom Michallon and Bertin had taught to paint the 
leaves on trees and the blades of the sod, had ended by teaching 
the world that leaves can be seen without being painted one by 
one, and that one can feel the greensward under one’s feet with- 
out counting every spike of grass. The Parisian shop-boy had 
become to art what Theocritus was to poetry. He had given to 
landscape painting the essence of that poetry that is present in 
the simplest as well as the sublimest phases of nature, and trans- 
ferred to his canvases the silvery charm of the heavens under 
which nature smiles her welcome to the poet’s soul. It was 
after his visit to Italy, in 1826, that Corot commenced to de- 
velop that refined suggestiveness whose ultimate perfection under 
his hands crowned the deathless triumph of his art. At first his 
- works exhibited breadth, strength, and a striving after color. 
Gradually he simplified his manner, created a system of subdued 
harmonies, and achieved his triumphs over the problems of light 
and air. It was when he became the painter of the evening and 
of the dawn that he scaled the pinnacle of artistic success. Yet 
his art was so novel, so subtle, and so independent of accepted 
traditions and familiar styles, that it was long in forcing its way 
_ into public approval. Supported by an inherited fortune, the . 
artist remained true to his ideals, and when victory finally came 
to him it found him rich in the accumulated masterpieces of a 
long lifetime. Success was meted out to him with no niggardly 
hand, once it did arrive. At its prime Corot is believed to have 
earned $50,000 a year by the sale of his pictures. He lived the 
same simple life of an old bachelor, unchanged by dignities and 
prosperity. In 1833 he had received a second-class medal, and 
two of the first class fell to him in 1848 and 1855. In 1846 he 
received the Legion of Honor, and in 1867 was made an Officer, 
but he was always the same “ Papa Corot.” He was the sincere 
friend of his struggling contemporaries when they most needed 
friendship, aud his death was mourned by the artists of France 
as a personal misfortune as well as a national loss. 


ammeen fhe Environs of Paris . 3. ee 


we 


THE SENEY COLLECTION. 


PAGE 

49 The Path to the Village . 2 : 253 
132 lVear Ville d’Avray . ; ; : ae Ce, 
iss. 2 he iVur Garkeper es ; : : . 209 
178 The Bathing Boys . ‘ : F . 220 
188 Oak Charlemagne. : 225 
232 The Ford RL | Se AG. 
261 Lhe Fisherman, Morning . : : . 266 


. 277 Lhe Myrite Wreath. ; : : cat 


No. 281 A Souvenir of Normandy ; 2 _ 277 
No. 285 Zhe Dance of the Nymphs : ; . 279 
No. 289 La Cueillette . = : ; : p 281 
COURBET (GUSTAVE) ; P ; ] Deceased. 


It required the fall of the Venddme Column to break the tur- 
bulent and stubborn spirit of the master of Ornans. His re- 
sponsibility for this crime has been disputed." It is even stated 
that he endeavored to secure the preservation of the column. 
Nevertheless, his complicity in the movements of the Commune 
and his official position in connection with it prevailed against 
him, and he paid for the shattered monument not only the cost 
of its restoration but the fatal price of shame, exile, and dishonor. 
The influence of Courbet on French art was overestimated at 
one time. Hewasa man of great gifts, but too narrow in mind 
and coarse in mental fibre to make a leader. He could bully 
men but not persuade them, and it was part of his dogmatic na- 
ture to demand absolute devotion and belief or reject all com- 
promise upon it. He himself did not perceive the weakness 
of his own character, and his failure to force an artistic issue 
upon France rendered him furious and resentful. He went so 
far at one time as to almost abjure his native country in favor of 
Germany, and made it his boast to welcome foreign honors and re- 
ject those of hisown nation. All of this reacted against him, and 
raised a storm of unmerited reprobation that recoiled upon his 


INDEX AND BIOGRAPHICAL NOTES. 31 


works. He died in exile in Switzerland, in 1878, a man of sixty 
years, broken in fortune, regretted by few and mourned by fewer 
still. Since his death his great artistic gifts have slowly won their 
true appreciation, and the tumultuous spirit of the man fading 
from memory, leaves the fame of the artist shining as it deserves. 
Born at Ornans, Courbet was originally destined for the law and 
sent to Paris in 1839 to attend the schools. He neglected his 
legal studies to ‘lounge among the studios, and did some desultory 
painting under David d’Angers. He may be considered as self- 
created in art, however, and his very first exhibited picture, in 
1844, had in it a marked originality and a bold and personal 
style. . 


PAGE 


No. 114 A Worther : : ; ¢ : . 188 


COUTURE (THOMAS) . j : : ; Deceased. 


At the age of thirty-two years, almost unknown outside of artistic 
circles and not any too widely known within them, Thomas 
Couture made himself immortal by a single work. The ‘‘ Ro- 
mans of the Decadence” took the art world by storm. It 
combined in itself the essence of what was best in modern art. 
It had the composition of the classicists, the idealism of the 
romanticists, the nature of the realists, and the masterly handling 
of the school that held technique to be the first necessity in art. 
Couture, born at Senlis in 1815, had studied art under Gros and 
Delaroche. In 1840 he showed his first picture at the Salon. 
In 1879, just after his death, his last was exhibited. In these 
thirty-eight years his vast energy had overcrowded itself in works 
which followed each other rapidly and yet failed to keep pace 
with the sweep of his fecund imagination. He once com- 
plained that he needed the arms of four men to accomplish 
what he dreamed. He was by turns idealist and satirist, a 
painter of facts, of creations, and of reflections upon human folly 
worthy of the invention of Balzac. Such a man naturally could 
not go through life without contests, and in spite of success, 


32 THE SENEY COLLECTION. 


fame, wealth, and the devotion of scholars from whose ranks _ p 
came some of the great painters of our time, Couture ended his 
life a disappointed man. He quarrelled with his contemporaries 
on points in and beliefs of art. He quarrelled with the Empire, 
which was only too anxious to conciliate him with patronage, on 
a trivial detail of one of the great works Napoleon III. had 
commissioned of him. As a result of the one he withdrew 
from social companionship. As a result of the other, he ceased 
to contribute his works to the Salon Exhibitions. The Legion 
of Honor, which came to him in 1848, was the last token of 
official esteem which he received. He had lived in retirement 
at Villiers le Bel for some years before his death, admitting 
none but a few chosen friends or exceptionally favored patrons 
to his presence; and so little was known by the public of his 
productions of this period that the exhibition of his works, made 
after his death, caused nearly as great a sensation as had the 
“‘ Decadence” almost half a century before. Besides his pict- 
ures, Couture left behind him a book, which was published in 
1867, under the title ‘‘ Entretiens d’Atelier,” or ‘‘ Studio Con- 
versations,” which no student or lover of art can read without 
interest and profit. From the number and the ability of the 
American students who received their artistic training in his 
school, Couture may be said to have had a more important in- 
fluence on our art than any French painter of his time. 


PAGE 


No. ttl Liberty in Chains . 4 : : SANs 


COXE (REGINALD CLEVELAND) . New York. 


The direction taken by Mr. Coxe’s art is an eloquent testimony 
to the influence great art exercises and the extent to which it 
perpetuates itself. Born in Baltimore in 1855, Mr. Coxe came 
to New York and began his art career by the study of the figure 
at the National Academy of Design in 1877. In 1879 he went 
to Paris, where he entered the studio of Léon Bonnat. His sole 
purpose at this time was to perfect himself as a figure painter, 


INDEX AND BIOGRAPHICAL NOTES. 33 


and his ambitions were all in the direction of figure composition 
of the romantic and poetic order. During the progress of his 
studies he became impressed by the marine pictures of Courbet. 
.The fascination of these Homeric exploits of realism grew upon 
the young American until he surrendered himself to it and be- 
came a painter of the sea. He spent a year in England, at 
Land’s End, painting and studying. In 1883 he returned to the 
United States and established his studio in New York. Hehas © 
a studio also at Gloucester, on the New England coast, and has 
extended his studies latterly to the shore as well as the sea. 
He is also favorably known as an etcher, his sensitive feeling for 
the subtle and mysterious effects of atmosphere and for the 
movement of the sea, finding almost as spirited and penetrating 
expression on the copper plate as on the canvas. 


PAGE 


No. 67 The Sailing of the Fishing Fleet. eetO3 


DAGNAN-BOUVERET (PASCAL ADOLPHE JEAN) 
Paris. 
In 1879, at the Salon, Paris enjoyed the double pleasure of 
mirth and applause at a picture depicting a marriage party of | 
the bourgeois type posing in a photographer’s gallery to be pho- 
tographed in commemoration of the momentous ceremony just 
performed. The picture not only displayed infinite quiet humor 
and great shrewdness in grasping character, but was soundly 
and brilliantly painted. The artist was a pupil of Géréme, who 
had made his début in the Salon in 1877, and who, in 1878, had 
received a medal for his ‘‘ Burial of Manon Lescaut,” which was 
afterward seen in America as part of the collection of the Hon., 
now Vice-President, Levi P. Morton, of New York. In 1880 
'M. Dagnan-Bouveret received a first-class medal; in 1885, the 
Legion of Honor, and in 1889, the medals of honor at the Salon 
and the Universal Exposition. More his own country could not 
do for him, except to support him with her patronage, and this 
she has honestly done. Commencing on the foundation of 

2 ; 


34 


THE SENEY COLLECTION. 


No. 87 On Market Day ‘ , : 5 udeaieLre 


neo-classical art which characterizes the Gérédme school, M. 
Dagnan has created a school of his own, in which he has many 
followers. Tenacious, patient, persevering, working with the 
extremest care, leaving nothing to accident, but carrying out 
each effect as he marked it out to be completed when he began, 
he is at once one of the most conscientious and one of the most 
sincere French artists of the present day. Each picture that he 
produces is a work of importance, since in each he puts all his 
heart and soul, working with a nervous intensity of purpose that 
leaves nothing undone, and that extracts from the subject all 
that art can extract from it. He is absolutely free from any of 
the mannerisms or conventionalities of academic training, and 
equally free from any personal affectations of technique. Bas- 
tien-Lepage, himself an artist of a very similar type, held him 
in the highest esteem, and since the death of his friend, M. 
Dagnan comes closer to taking his place than any other artist of 
the day. M. Dagnan takes his surname, Bouveret, from his 
mother, in order to distinguish himself from another artist of 
the name now deceased. He is a native of Paris, where prac- 
tically his entire life has been spent in the studies and the labors 
of which his works are the rich if not numerous fruit. 


PAGE 


No. 143 Lhe Brigand . i : ; : , 203 


DANNAT (WILLIAM T.). Ab : Paris. 


Four distinct artistic schools have aided in shaping the vigorous 
and original talent of William T. Dannat. He has studied at 
various times in Germany, Italy, Spain, and Paris, and has had 
for masters the professors of the Munich schoolsand Munkacsy. 


It would be impossible to trace any of these in his own style, or 


in his choice of material. Born in New York in 1853, Dannat 
commenced study abroad at an early age as a student at the 
Munich Academy. The ample means of his family provided 


_ him with every educational advantage, and the natural energy 


~ 


7 
a 
a 
% 
" 
" 
« 


rs es 


INDEX AND BIOGRAPHICAL NOTES. 35 


and vigor of his nature prompted him to the full use of his re- 
sources. With the exception of a single winter in New York, 
his time has been spent abroad, and of late years in Paris, where 
his studio is located and where he holds a professorship in the 
Art School. Since 1883, his works have secured him a variety 
of recognition in the Salon and other exhibitions, and in this 
country he is worthily represented by his striking and powerful 
Spanish character picture called ‘‘ A Quartette,”” which is the 
property of the Metropolitan Museum of Art, through gift from 
the artist’s mother, and by some of his most brilliant smaller 
canvases in private collections. His pictures are marked by 
firm and accurate outline, great solidity of execution, boldness 
and breadth of treatment, and an admirable richness and har- 
moniousness of color, and he displays, frequently, a daring au- 
dacity in original effects of light, whose greatest difficulties 
afford him opportunity for the exercise of his greatest technical 
skill, 


No. 218 Ju the Studio . : ; sages . 241 


DAUBIGNY (CHARLES FRANCOIS) . » Deceased. 


Art was an inheritance to Daubigny. Born in Paris in 1817, 
he came of a family of painters, and all his surroundings were 
artistic. His father, his uncle, and his aunt were laborers at 
the easel, and the boy absorbed his first lessons with his childish 
breath. He became a pupil of his father, and after a visit to 
Italy-and some time spent in the studio of Delaroche, he turned 
to that universal fount of inspiration, Nature, and found in her 
the secret of his future greatness. His earlier figure pictures - 
and portraits, which are excessively rare, show him, like Corot, 
to have been a painter cf sound and well-trained ability in this 
branch ; but it was to landscape that inclination and sympathy 
directed him early and there held him fast. His means were 
narrow, and he subsisted by designing, by copying pictures and 
drawing on wood for the engravers, devoting all his leisure to 


36 


THE SENEY COLLECTION. 


painting. Hecame out at the Salon of 1838, and after a strug- 
gle of ten years, found prosperity and fame. In 1848 he wona 
second-class medal ; in 1853 one of the first class. The seal 
was set upon his reputation when the emperor, in 1852, pur- 
chased his picture of ‘‘ The Harvest ” for the Tuileries, follow- 
ing it, in 1853, with the purchase of another for St. Cloud. In 
1859 he was invested with the Legion of Honor, and in 1875 
was made an Officer of the Order. He died in 1878, after 
having shared with the master painters of Barbizon the glory of 
regenerating his national art, and left a legacy of masterpieces 
to the world. Daubigny was essentially a painter. Light, air, 
and color were the keynote of his art. He went to nature as a per- 
petual devotee, and his most successful works were those which 
he painted from his studio boat, floating on the placid waters 
of the Seine and the Oise. In the special class of subjects to 
which he inclined he was without a rival, and he has found no 


successor, and his influence on the art of the century, like that — 


of his great colleagues, cannot be overestimated. He was an 
etcher of much spirit and skill, and aided largely in the revival 
of that art. Daubigny became in a manner a sacrifice to his art. 
His death was undoubtedly hastened by rheumatic affections, 
contracted from labor in his floating studio in all weathers and 
seasons, and his end was attended by cruel physical sufferings. 
Of all the painters in the immortal group to which he belonged 


he was perhaps the nearest to Corot, not only in artistic sympa- 


thy, but in an almost brotherly tenderness of personal affection. 


PAGE 
No. 29 Zhe River Front %& PM aie Ie: 
No... 5° Heuling thew chee ie : Reet ike 
No. 81. The Kivemworse ; ; i : Fo 
No. 128 The First Catch ‘ : ; t enrages 
No. 131 A Village on the Oise ech ater 
No. 152 On the River Oise \Y . aA "ys Be . 2072 
No. 163 Zhe Crane Covert abe): es eae 
No. 189 The Washing Place... ; i . 226 
No. 229 On the Marne ., . ; : , . 247 


an 


- 257 Spring 


INDEX AND BIOGRAPHICAL NOTES. 37 


PAGE 


ae 204 


. 279 Landscape with Cattle ‘ : é “270 
mezosen. le Gipstes... .. : ; ; ; h27 8 
. 286 Autumn on the Oise , : ; , 31230 
. 288 The Creek : : ; : : Peo 


MeviswiGHARLES H.). . . « «Paris. 


It is now nearly a decade since the pictures of an American, a 
painter of landscape named Davis, commenced to attract the 
attention of the critics at) the annual Salons of Paris. The 
painter was a native of Amesbury, Mass., where he was born in 
1855. He had begun to study art under Otto Grundman at the 
Boston Museum of Art, and had exhibited with the Boston Art 
Club as early as 1878. Going to Paris, he had become a pupil 
of Boulanger and Lefebvre, and then, like so many other paint- 
ers who have commenced with the study of the figure and 


finally gone over to nature pure and simple, he had followed his 


inclination and his ideals into the free fields, made strong by 
the technique and the experience of his admirable schools. His 
rendition of landscape stamped him from the first as one who 
had chosen his vocation wisely. He possessed in his style and 
execution a remarkably subtle refinement and a remarkably pure 
sentiment of poetry, yet managed, as well, to adhere to actual- 
ities. He painted what he saw, but he saw it with an eye pecu- 
liarly receptive of the faintest harmonies and the most tender 
beauties of the scene. As just and competent a critic as Mr. 
Theodore Child pronounced his exhibits at the last Exposition 
in Paris as being ‘‘the finest and most personal” in the depart- 
ment of American art, and asserted that his exhibit gave him 
rank amongst the great landscapists of the day ‘‘ as an artist sin- 
gularly sensitive to the soul charm as well as to the color charm 
of nature.” In his native country, his charming and masterful 
works secured him an immediate acceptance among amateurs 
and collectors, and at the Exposition in Chicago of 18g0, his 
Salon picture of that year received the Potter-Palmer prize of 


38 


No. 
No. 
No. 


THE SENEY COLLECTION. 


$500 for the best landscape. At a previous special exhibition 
in New York a group of his works had aroused an unanimous 
enthusiasm by their beauty and by the variety of power and deli- 
cacy of execution they revealed. One of his pictures, entitled 
‘“Late Afternoon,” was awarded the cash prize of $2,000 at the 
Third Prize Fund Exhibition at the American Art Galleries 
in 1887, and was allotted to the Union League Club, in whose 
collection it may now be seen, 


PAGE > 


70 Lhe Coming Mist. f ; ; . 165 
122 Zhe First Frost f : : : . 192 
275, LNE CUrfLW am : : ; 5 Bae 


DECAMPS (ALEXANDRE GABRIEL) : Deceased. 


It is a matter of record that the picture by which Decamps, the 
great orientalist of his day, made his débuz in the Salon of 1827 
was a figure of a Turk, evolved from his inner consciousness. 
The artist had not yet visited the East, and his picture was simply 
an expression of the tendency of his thought and feeling. De- 
camps was a Parisian, born in 1803. He was sent as a boy into 
the country by his father, and allowed to run wild until it was 
time to send him to school, when he was brought back to Paris. 
He had developed what he himself called ‘‘ the taste for daub- 
ing,” and was left to work out his own method of art without 
parental encouragement. Stumbling blindly toward the light, 


learning from the pictures he saw in shop windows and galleries’ 


what pictures were, he finally, at the age of twenty-four, pro- 
duced the Turk which attracted attention to him in the Salon. 
The subject and the method of the picture proved attractive to the 
public, and the young painter was encouraged to proceed. He 
had an ambition to paint history, and strove for the Prix de Rome 
invain, It was his lifelong regret that he could not become a 
great historical painter, and he often bitterly complained of that 
neglected childhood, in which he had learned such lessons of free- 
dom and contempt for restraint that he could never afterward 


ae ee ee ee rt es eo One oar ss 


a a ee er ere, 


INDEX AND BIOGRAPHICAL NOTES. 39 


schoo] himself to the arduous study necessary for success in the 
lofty walk of art to which he aspired. The world was the gainer 
by what he considered his loss. A brilliant intelligence, a fecund 

_ invention, and a facile hand enabled Decamps to earn his living as 
a caricaturist while he was struggling for recognition as a painter. 
Some of his lithograph cartoons display a mordant and deadly 
satire equal to the written diatribes of Juvenal. Decamps’ rest- 
less spirit sent him on many wanderings, and from a visit to 
Asia Minor he brought back the inspiration and material for the 
‘oriental subjects, bathed in sunlight and glowing with slumberous 
color, which gave him a distinctive place among the masters of 
the day. In his greatest success his life was not happy. He had 
his studio and hunting lodge in Fontainebleau, and he divided 
his life between painting and hunting to dissipate his broodings 
on his disappointment in life. He had few friends, though with 
Millet and other artists of his circle he was on amicable terms. 
Medals and honors only deepened his disgust at his inability to 
create monumental masterpieces. Only his great mind preserved 
him from total misanthropy. One day in 1860 he rode into the 
forest with his favorite hounds to hunt. The baying of the 
dogs attracted the attention of a forester, and he found one of 
‘the greatest artists of the world thrown from his horse and help- 
less from an injury which proved mortal. 


PAGE 
No. 30 The Toilers ; : 3 ; , . 144 
No. 133 Zhe Sentinel . : p ; . 198 


No. 237 Cat, Radbit, and Weasel , : : 25 


DEFREGGER (FRANZ VON) . 3 : y Munich. 


Born on a farm at Stronach, in the Tyrol, Franz Defregger grew 
up as a rustic drudge, tending the cattle and sheep in summer 
time and getting a small share of schooling during the winter. 
From boyhood he exhibited an artistic inclination, using the 
pencil wherever he could find a surface to draw upon, modelling 
figures out of dough and the clay of the pasture-fields, and fill- 
ing his school-books with sketches. He even gained some skill 


4O 


THE SENEY COLLECTION. 


No. 


as a wood-carver by self-instruction and practice. In 1857, 
when he was twenty-two years of age, the death of his father 
made him master of the farm, and the first use he made of his 
inheritance was to sel] it and go to Innsbruck to study the art of 
sculpture under Professor Stoltz. His master advised him to 
undertake the study of painting instead, and he took his first 
lessons at Munich under Professor Anschiitz. Ill-health sent him 
to Paris for a time, whence he returned to his native village, 
continuing his studies from nature till, in 1867, he entered the 
Piloty school at Munich. His first pictures to attract attention 
were of Tyrolean subjects, some of historical and others of do- 
mestic character, and he produced a number of small genre pieces, 


distinguished by a jovial humor, strong individualization, rich 


coloring, and brilliant execution. His reputation progressed 
from city to city, and from exhibition to exhibition throughout 
Europe. He received medals at Paris, and honorary member- 
ships of the academies of Munich, Vienna, Berlin; the great 
gold medal of Munich, the first prize of Berlin, and finally, in 
1883, his patent of nobility. The public museums and private 
galleries of Europe are rich in his pictures, the most important of 
which have become universally known through reproduction by 
photography and other processes. No German artist enjoys a 
more extended popularity, and with the exception of Knaus, 
none has conquered so cosmopolitan a favor, or secured so gen- 
eral a distribution for his works. 

PAGE 


88 The First Love Letter ; : : Ee 


DELACROIX (FERDINAND VICTOR EUGENE). 


Deceased: 


It was the same movement that gave Byron to English poetry 
that bestowed Eugéne Delacroix on French art. The exagger- 
ation of a period of superficial elegance and false classicism pro- 
duced a revulsion to the other extreme of romantic realism. 
What the massive genius of Géricault began the more brilliant 
genius of Delacroix completed. The pupil of Guérin, who made 


Dee ee ee 


INDEX AND BIOGRAPHICAL NOTES. 4I 


his début in 1822 at the age of twenty-three, with his ‘‘ Dante and 
Virgil,” lived to see in 1863 a revolutionized art and literature in 
France, and to know that he had been in the van of the battle that 
produced it. Yet Delacroix began as a classicist, and the evi- 
dences of this influence struggle in his ‘‘ Dante and Virgil” for the 
mastery of his natural tendency to the romantic and tragic side of 
nature. He abandoned the prevailing cult early, and his travels 
in Spain and Africa in 1831 gave him the fire and color which 
were to render his art supreme. He formed his artistic system 
upon the Byronic plan, though with a finer feeling than Byron 
and with less morbidness of sentiment. With him color and 
action went together. Form was merely accessory. The spirit 
of the subject, savage or serene, had its reflection and its sup- 
port in the savage force or the serene harmony of his color and his 
technique. Wherever he was at his best he was most marked in 
this symmetrical relation and balance of heart and hand ; and 
wherever he was happiest it was in subjects in which his vigor- 
ous and combative nature could find freest and fullest expres- 
sion. He died leaded with honors, but his fullest fame has ac- 
crued to him since his strong hand dropped the pencil for the 
last time. The world has crowned his work with posthumous 
laurels. The great galleries and the choice collections of Europe 
and America have made prizes of the productions on which he- 
has stamped his title to immortality, and even the least sympa- 
thetic criticism concedes him a unique place as an intrepid 
leader and a creator of marvellous fecundity and power, to whom 
the world’s art owes a debt of gratitude it can never overpay. 


PAGE 


51 Zhe Lion in the Mountains ; eg oer 


No. 235 Ziger'and Serpent . : ‘ . 250 
No. 256 Selimand Zuleika . : : : maz03 


DEMONT-BRETON (VIRGINIE ELODIE) : Paris. 


The history of the artistic family at whose head Jules Breton 
presides will one day form the subject of a volume. An im- 


A2 


THE SENEY COLLECTION. 


No. 


portant chapter of this work will be provided by Mme. Demont- 
Breton. Mme. Demont-Breton is the daughter of the painter of 
‘*The First Communion.” She was born at Courriéres, and 
early became a pupil of her father, under whose care her ex- 
traordinary talent was placed upon a sound foundation. Both 
in landscape, in which she had the aid of her uncle, Emile Bre- 
ton, and in gezve, under her father, she developed rapidly under 
instruction. A pupil of her uncle’s was Adrien Louis Demont, 
a native of Douai, and now a well-known landscape painter. 
The meeting of the young students led to a not uncommon 
result. They became man and wife, but in order to avoid a 
confusion of names, the wife retained that of her family after 
her husband’s. Demont had gained his first Salon medal in 
1879 for a landscape. His wife won hers in 1881 for a superb 
canvas, a ‘‘ Woman Bathing Her Children.” The vigor of 
drawing, the harmony of color, and the clearness of characteriza- 
tion which she had gained from her father’s tutorship stood her 
in good stead. Her début was a success, and in 1883 she gained 
her medal of the second class with a picture which the Govern- 
ment purchased for the Luxembourg Gallery. While she has 
gained her artistic ends in landscape and in portraiture, it is in 
genre subjects in which children are introduced or play the 
chief parts that she is most happy. Her sentiment is always 
genuine, her subjects are well chosen, out of honest human 
interest in honest human nature ; and while her execution has 
a perfectly masculine spirit and strength, her feminine instinct 
and delicacy of perception endow her idylls of the country 
and the home with a special charm, 


PAGE 


97 The Twins : ; : : : =178 


DIAZ DE LA PENA (NARCISSE VIRGILE) . Dec’d. 


A romantically picturesque figure in art is that of Diaz. Born 
in 1808, at Bordeaux, of Spanish parentage, he combined the 
romantic blood of his paternal race with the more mercurial 


Pea) 


INDEX AND BIOGRAPHICAL NOTES. 43, 


spirit of that to which he belonged by birth. Cast early on the 
world, crippled by the loss of a leg through accident and neglect 
at the age of fifteen, he was an errand boy and drudge in a por- 
celain factory, where he got his first artistic education by copy- 
ing the decorations on the pottery. It was at this period that 
he made the acquaintance of Dupré, who was also employed as 
a porcelain painter, and from this shop, after a quarrel with his 
master, he drifted to Paris, to starve and fight his way to fame 
_and fortune. It was a bitter battle. Hecommenced asa genre 
painter, selling for a few francs pictures which he lived to see 
held more precious than gold. In 1831 he appeared at the Salon 
with some of his first landscapes, and thenceforth, although he 
never altogether abandoned the painting of the figure, it was asa 
painter of nature that he held his highest rate. A devoted admirer 
of and believer in Delacroix, Diaz, like his brother master, was 
a colorist of the most brilliant splendor. His feeling of color is, 
however, in strong contrast to the fierce and energetic Delacroix. 
With Diaz color was all mellowness and harmony of sumptuous 
repose, and no painter has succeeded in rivalling his mastery of 
that glorious glow of sunlight which warms his canvases as 
with hidden fires.. He was one of the first artists to invade the 
Forest of Fontainebleau in search of subjects, and at Barbizon 
as at Paris he lived on terms of the closest amity with Millet 
and Rousseau. Froin the commencement of his success pros- 
perity showered on him, and he acquired enormous gains by 
his art, which he dispensed with a hand which was never closed 
to need or distress. The vitality of a joyous nature, which had 
supported him through the afflictions of a laborious youth and 
the privations of an early manhood of neglect, never failed 
him, and one sees reflected in his works the spirit which 
animated the worker. Toa third-class medal in 1844 followed 
others of the second and first class in 1846 and 1848, and in 
1851 Diaz was received into the Legion of Honor. He died 
in 1876, at a villa at Etretat, which he had purchased that he 
might bask in the sunlight he loved so well, and continued to 
paint almost until the last. The greatest affliction of his life to 
him occurred on the day when, wasted by disease and enfeebled 


A4 


THE SENEY COLLECTION. 


by decay, his hand could no longer hold the brush which had 
won him a double crown of laurels and of gold. 


PAGE 

31 Ln the Woods . ; ; Ra Sig . 144 
52 An Opening in the Woods ; : luis 8 
50: Higher s s, : ‘ ? : : rah TO 
93 ul He Lf Chia pia nial eae ‘ ; ‘ ae ts 
yiI20  ( viveninener . : : > . 196 
154 .The Sultanas i ; : MiZoS 


. 180 Le Temple del Amour. : : ae 
. 195 After the Storm : : A : . 229 


No. 231 Zhe Kaggot Gleaner , : ‘ , . 248 
No. 260 Lu the Forest . i ‘ ; , . 265 
No. 270 Virginand Child : ; : Rog 
No. 280 Ln the Pyrenees ; . 3 : aF6 
No. 282 Sunset after a Storm aed. 
No, 294. Zhe Approaching Storm . - . eed 
DOMINGO (JOSE) ... . 


Among the compatriots in whom Fortuny discovered a genius, 
which it was his always generous practice to encourage, was a 
young Valencian named José Domingo. Thanks to the advice 
and influence of his friend, Domingo was emboldened to under- 
take the struggle for recognition as an artist which has placed 
him in the van of his native school, and made him one of the 
immortal figures in the great modern revival of Spanish art. He 
grounded himself by a term of study at the Madrid Art School, 
after which he passed some years in Paris, chiefly as a pupil of 
Meissonier. From the first, his brilliant and delicately handled 
genre pictures attracted attention. He possessed a keen eye for 
character, bright and pleasing color, and a very accurate and 
graceful draughtsmanship, and his earlier works bore a stronger 
and closer resemblance to his master’s than perhaps did those of 


q 


ler: 
> 


= 


, ie 
i Re ee ee ee 


SS - = 


a ee ee 


INDEX AND BIOGRAPHICAL NOTES. 45 


any others of Meissonier’s pupils. His southern spirit asserted 
itself in a more sparkling style, however, and with very little 


independent experience his originality made itself apparent. 


With the energetic advocacy of Fortuny he was not long in secur- 
ing patronage, and his pictures soon commanded high prices. As 
early as 1878 he received 80,000 francs for a single work, ‘‘ The 
Halt,” a cabinet piece less than a foot square, which was pur- 
chased by the Viscount d’Opia. His popularity began early in 
England and America, where he is now represented in all the 
great collections, and next to the influence of his great leader, he 
doubtless owes the permanent establishment of his prosperity 
and fame largely to the endorsement of collectors of the Anglo- 
Saxon race, 


PAGE 
No. 205 Zhe Bravo ; ; ; : : 235 
Meer ures). Deceased. 


When Jules Dupré passed away in the early winter of 1889, the 
last of a generation of artistic Titans was laid to rest after labors 
whose results will be imperishable in the art of the world. 
Born at Nantes in 18g, Dupré was one of the mighty little 
legion that redeemed French art from the lifelessness of classi- 
cism and made it human and supreme. THe was born toa heri- 
tage of poverty, and learned his first lessons in the humble 
porcelain factory of his father ; but nature provided him with a 
school to whose lessons his genius was actively alive. The in- 
fluence of his early studies prolonged itself into his remotest 
age. He was always the student of nature, who carried his 


_ book and his palette into the fields and forests, and who taught 


himself to walk with art and literature side by side. In 1831 
Dupré contrived to find his way before the public as a painter. 
On capital earned by painting china and clock-faces, he found 
his way to Paris, where the great dead spoke to him at the 
Louvre out of the canvases of Hobbema, of Ruysdael, and 
Constable. In the Salon of 1831 he showed five landscapés, so 


46 


THE SENEY COLLECTION. 


full of nature, so strong in style and direct in expression, that 
they commanded immediate attention. Fortune was more kind to 
him than she commonly is to genius. The Duke of Orleans, the 
greatest art connoisseur of the day, found him out, and so he was 
successfully launched. Patronage grew. He was not only able 
to aid himself, but he was happy in the ability to reach out his 
hand to his brother geniuses. Rousseau owed him much. Mil- 
let was sustained by his zealous friendship. It was as if the 
noble heart of the nature he loved had entered into the man. 
Throughout his long life, the same great and unselfish spirit 
added to his honors. In 1833 he received his first Salon medal. 
In 1849 he was received inte the Legion of Honor, and in 1870 
elected an Officer. At the International Exposition of 1867 he 
achieved a triumph with twelve masterpieces. One by one he 
saw his comrades of the days of struggle drop away from him. 
At last, in his cottage at Isle-Adam, he remained alone in a vig- 
orous and healthy age, with his books, his pictures, and the 
memories which he unbosomed to the frequent guest of the 
newer generation in art, who always found a welcome at his 
board. 


PAGE 


32 Autumn : a5, PyTAs 


53 The Old Farm , ; t : Le Ts Be 


130 6©The Brook é : : . . 196 
153 Ln the Channel . i : : : . 208 
193 The Farm : ‘ : : , 228 
230 Marine . ; : ‘ : : . 248 
2084 (Ar Sea 
BOOT SOUUSEONO : ; - , . 
293 Moonlight me ee 


DUPRE (JULIEN) 9.0), 2 2 


Originally a student of the figure under Pils and Lehman, 
Julien Dupré was doubtless directed in the path he has chosen 


: : 5 a i 
4 ‘ pe ‘ .. 
~sP ; =" > a = ee 
eae ee | ee er te ee FO 


ie a ee 2 > - 
et ee) Os ae OP ee ee a x 


< > ee 
Eee ee eee 


= ey ae ee 


oa 


_ 


- INDEX AND BIOGRAPHICAL NOTES. 47 


by his association with Laugée. Already, in 1876, he was a 
painter of rustic scenes, in which landscape and _ figures pre- 
served an admirable balance, as his ‘‘ Harvest” showed. In 
1880 his two pictures at the Salon won him a medal of the third 
class, to which others have since been added. He painted at this 
period in a mellow and warm tone, with a heavy impasto and 
powerful drawing. By degrees he abandoned this manner for 
the higher key and brighter atmospheric effect inseparable from 
painting much in the open air, while his drawing has also 
become more delicate and refined. His pictures in which the 
human figure and cattle are combined in the composition, show 
him to be a master of form, while in landscape he paints with 
commensurate skill. Among the younger painters of France no 
talent better equipped or more symmetrical has developed itself. 
Dupré is a native of Paris, where he was born in 1851, and isa 
nephew of the great landscape painter, Jules Dupré. : 


; PAGE 
No. 68 2 the Hayfield , ane : : . 164 
Bee wr (ALBERT) <5 Panis. 


- 


One of the most capable and successful of the many men of 
ability who constitute the foreign painters’ colony in Paris is 
Albert Edelfeldt. He isa native of Finland, and was born at 
Helsingfors. His talent evinced itself in a degree that con- 
quered the drawbacks attending upon an. art education in the 
north of Europe, and after such rudimentary training as he 
could acquire in his native city, he began painting in a modest 
way onhisown account. His evident talent and sincerity won for 
him an encouragement, thanks to which he was enabled to journey 
to Paris, where he entered himself as a student at the Ecole des 
Beaux Arts. He perfected and polished his technique as a student 
in the studio of J. L. Géréme, but has never been influenced by 
‘his master’s choice of subjects. With that often touching fidelity 
to Fatherland whith rules the Northern and Saxon races, he 
looked, from the gayety and glitter of the city of his adoption, 


48 


- PAGE 
No. 69 Knitting . : ; : . 164 
No. 123 An Interesting Book ; ; ; . 193 
No. 185 Zhe Last Passenger . ; : : e224 
No. 274. Lydia and Horace . : : : f27% 
FORTUNY (MARIANO) . : ; : . Deceased. 


THE SENEY COLLECTION. 


back to his native land for the inspiration of its cool and spark- 
ling waters, its windy skies, and its hardy toilers of sea and shore. 
His earlier pictures were of a historical nature, it is true, gener- 
ally of episodes concerning his national history, but he soon 
drifted into a line of subjects which related to Finnish life and 
manners, and by them he gained his first public distinctions. 
He received a medal of the third class in 1880, one of the second 
class in 1882, and at the last Universal Exposition in Paris was 
one of the recipients of a Grand Prize. 


It was the vigorous and original style of Fortuny which spurred 
modern Spanish art to.a revival of life. Although he died 
before he was forty years of age, he accomplished a work that 
could scarcely have been improved upon in double the time 
allotted to him. Much of his life was spent in Rome, where 
he first went in 1856, as a winner of the prize and pension of 
the Barcelona Academy, and his death was caused there by a 
fever contracted while painting out-of-doors at an inclement 
season. A Catalan by birth, Fortuny was possessed of all the 
energy and progressiveness of that people, who are the leaders 
of modern Spain in business and in art. It was in 1866 that he 
first went to Paris, almost unknown; except to local honor in his 
own section; but Zamacois, who recognized and honored his 
genius, put him in contact with the house of Goupil, which 
immediately began to push his claims upon the public. He 


added to his reputation by marrying the daughter of the elder 


Madrazo, in Madrid, in 1867. This tnion, by enlisting the 
wide-reaching influence of the director of the Madrid Museum, 


’ 
j 
s 
: 
* 
’ 
‘ 


INDEX AND BIOGRAPHICAL NOTES. AQ 


made him as famous throughout Spain as the patronage of the. 
-Goupils did in France, England, and America. Fortuny’s strong 
personality formed him for a leader, and gathered to him many 
gifted and distinguished followers. His studio in Rome was a 
sort of court, in which all Spanish artists saluted him as mon- 
arch. Among his friends was Professor Fernandi, a painter of 
Malaga and afterward director of the art school there; and it 
was during a trip they made together to Naples that Fortuny 
. added to the picture of his comrade the figures and animated 
accessories which give it life. The journey was made in the 
summer of 1874. Within three months Fortuny was dead. 
His name, which custom has abbreviated to that which his 
genius made immortal, was Mariano Fortuny y Carbo. 


PAGE 
No. 210 «= Street Scene, Naples : ‘ : | BY) 
FRERE (PIERRE EDOUARD) ..._. __ Deceased. 


It was left for a pupil of Delaroche and a student schooled in the 
classicism of the period over which Delaroche ruled, to create 
an art in which every convention of classicism was reversed and 
a new world of subjects opened up for the painter. Rustic 
childhood, the babyhood of the farm, the fields, and the village 
provided Frére with the material upon which to found his 
enduring fame, and the amiable and gentle spirit in which he 
bent himself to his task is reflected in the waive charm of the 
productions of his long and industrious life. Frere was born at 
Paris in 1819. At about the time when the naturalistic move- 
ment was sending the men of 1830 to Barbizon, he found his 
settlement in the little town of Ecouen, north of Paris but a few 
miles, where he was destined to found a school known through- 
out the world of art, and of art collectorship. He was the 
pioneer painter at Ecouen, but did not long remain solitary 
there. Other artists followed him, and pupils gathered about 
him, just as the colony formed itself at Barbizon around Rous- 
seau and Millet. The charm of his subjects gained for him an 


4 


50 THE SENEY COLLECTION. 


early popularity which was materially advanced by the extensive 
publication of engravings from his pictures. He came out at 
the Salon of 1843, but had produced pictures of fine quality as 
early as 1835. In 1850 he received his first medal, and in 1855 | 
the Legion of Honor. The enthusiastic championship of John 
Ruskin opened the rich market of England for his works. He 
was an early favorite in America. In Germany he was received 
with open arms, and so strong was his hold upon that nation 
that when the Prussians plundered Ecouen, his house and studio 
were held inviolate by them. His death in 1886 was made an 
occasion of general mourning among his confréres, and the 
eulogy at his bier, pronounced by Bouguereau, was one of the 
most noble tributes ever paid by an artist to the memory of a 
friend and colleague. 


. PAGE 
No. ro2 Vaternal Love . i ; : : , 182 
FROMENTIN (EUGENE) . .. ... _ Deceased. 


It was accident which made Fromentin an artist.. The son of a 
well-to-do provincial lawyer, born in 1820 at La Rochelle, he 
went at nineteen years of age to Paris, to qualify himself to 
succeed his father. At twenty-three he received his diploma, 
but a fit of illness, during which he solaced his enforced leisure 
by gratifying his latent talent for drawing, turned him in the 
direction of art. He studied under Rémond and Cabat, and his 
earlier works show little of the feeling of those which rendered 
him illustrious. While he was making his first experiments as 
a student, Prosper Marilhat was creating a profound impression 
by his oriental landscapes, and Fromentin, who in 1840 had 
visited Algeria for pleasure, found himself attracted to these 
subjects in which the gifted pupil of Roqueplan excelled. After 
his first exhibits in the Salon of 1847, Fromentin again visited 
Africa. In 1849 he commenced to exhibit Algerine pictures, 
and they won him a second-class medal. He improved on the 


_, INDEX AND BIOGRAPHICAL NOTES. 51 


model of Marilhat by making figures important accessories of his 
landscapes, and was speedily recognized as the most sympathetic 


and poetical painter of Arab life in France. The deficiencies of 


his early schooling in art prevented him from becoming a strong 
draughtsman, but he amply atoned for this by his marvellous 
faculty of realizing character and action. He was a brilliant 
and glowing colorist, and possessed a delicate appreciation of 
the elegances of composition, while never losing sight of nature 
in artificiality of arrangement. His influence as the founder of 
a school of oriental art was recognized by first-class medals in 
1859 and 1868, and in the former year he received the Legion of 
Honor, being made an Officer ten years later. He was as brill- 
iant a writer asa painter. His picturesque works on Arabian 
life'are accepted as standards, and his volume on the old masters 
of Holland and Belgium is an authority in criticism. He also 
wrote a romance, and many stories and essays. One of the most 
cultivated and high-minded men of his time, he performed his 
double labors of the brush and pen with a singularly happy 
reciprocity of feeling, and his death, in 1876, left in the front 
rank of French art a vacancy which has never been filled. 
Followers and imitators he has had many, but among them no 
successor to him has arisen. 


: PAGE 
No. -54 The Gazelle Hunt ., : : ‘ = 156 
No. 134 Zhe Wheat Harvest . : . 198 
No. 157 Zhe Meeting for the Chase EoD as: 
No. 215 A Wind Storm on the Plains of Alfa . 240 
No. 238 The Return from the Chase. : ot 2 
No. 278 On the Alert . : : ; 275 
FULLER (GEORGE) : , : : Deceased. 


The appearance of George Fuller was one of the memorable 
events in the modern art of America. His individuality was 
so marked and the place he created for himself so unique that 


52 


THE SENEY COLLECTION. 


he represents a distinct epoch of the history of painting on the 
Western continent. Too modest and retiring, of too poetical 
and sensitive a nature to aspire to the position of a leader and a 
creator of a school, he yet, by the power of his art alone, gave 
a strong impetus and a new direction to the art of his contem- 
poraries. He was born at Deerfield, Mass., in 1822, and went, 
as a youth of twenty, into the studio of Henry Kirke Brown at 
Albany, N. Y., where he commenced the study of sculpture. 
The art was too cold and forma] for his temperament, however, 
and we next find him practising in a humble way as a portrait 
painter, and studying such works of his predecessors as he found 
accessible. After wandering about the country, and painting 
for a time in Boston, he settled in New York, where for twelve 
years he labored steadily, accumulating sufficient means to en- 
able him to make atour of Europe. It was through his study 
and observation abroad that he came into the style by which he 
is most distinguished, a style which is melodic with simple and 
tender poetry of thought and treatment. Once entered upon 
this field, he painted steadily on, indifferent to popular patron- 
age or praise, a true artist, devoted to his art in utter unselfish- 
ness and sincerity. In 1876 an exhibition of some of his land- 
scapes and ideal heads created a critical sensation in Boston, 
and secured an endorsement which convinced the artist that he 
had made no mistake in his method of expression. The support 


of the critics was followed by that of the collectors, and his 


works found a representation in private galleries throughout the 
country. His fame was at its height, and his honors were 
steadily augmenting when, in 1884, he died, leaving his life- 


work to be crowned by a triumphant Memorial Exhibition of © 


his works in Boston, where he had located his studio. Mr. 
Fuller was made an Associate of the National Academy of 
Design in 1857, and only his neglect to exhibit during later years 
with that institution prevented his admission to full member- 
ship. As a colorist and a painter, his death was a loss to the 
art of America which has not yet been replaced. 


PAGE 


No. 255 edalma , : ; : j ‘ . 262 


y, APP oe 


—_— ~—s ve 


- 


. INDEX AND BIOGRAPHICAL NOTES. 53 


PEROMEQIEAN LEON). «. .. -...1 . ~ Paris. 


A great French critic once described J. L. Géréme as standing 
at the head of modern scholarly art. ‘The phrase was apt. The 
most striking characteristic of his art is the idea it conveys of 
vast knowledge, and of logical and searching study, apart from 
the technical perfection of the art itself. The artist and the 
scholar are indeed closely united in the pupil of Delaroche, who 
followed his master into Italy half a century ago, and who in 
all the years that have since elapsed has never quite forgotten 
the classical lessons of his youth. Géréme was born in Vesoul 
in May, 1824. In 1847 he won his first medal, although he 
failed to secure the Prix de Rome. He consoled himself for the 
latter loss by visiting Russia and Egypt on his own account, and 
while he found little in the former country to attract him, he as- 
sembled in the latter the first installment of that material by 
which his greatest popularity has since been gained. In spite 
of his ‘‘ Phryne,” his ‘‘ Diogenes,” his ‘‘ Alcibiades,” and the 
rest of a long list of powerful and remarkable classical and 
historical subjects, the Gér6me who will be best remembered 
by the world is the Géréme of Egypt and of Africa, the painter 
who has made these countries live as picturesque facts for us, 
where Delacroix and Fortuny and their followers and imitators 
have made them the subjects of romances of color and of sub- 
ject. It is not astonishing that an artist of so symmetrical and 
well rounded a genius should be an able sculptor as well as a 
painter. Gérdéme, as long since as 1878, received a medal for 
sculpture, and some of his plastic productions are likely in the 
future to receive the honor that falls to the sculptor of the first 
rank. Every official honor that falls to the French master of 
our time has fallen to him. He has been a Commander of the 
Legion of Honor since 1878, a Member of the Institute since 
1875, a Professor of the Ecole des Beaux Arts since 1863. His 
medals of gold and silver fill a cabinet. The Medal of Honor, 
that crown and glory of an artist’s ambition in the Parisian con- 
test for fame and fortune, came to him thrice. In every art 
museum of his native country and most of the great public gal- 


54 


THE SENEY COLLECTION. 


leries and private collections of the world his works find repre- 
sentation. Perhaps no artist ever lived who enjoyed a greater 
share of the rewards of genius during his lifetime. Certainly 
few have had as many bestowed upon them while their capacity 
for profiting by them was yet unimpaired. 


PAGE 


No. 246 The First Kiss of the Sun : : 250 


GIFFORD (ROBERT SWAIN), N.A. . : New York. 


About a quarter of a century ago, a now forgottén Dutch ma- 
rine painter, Albert Van Beest, was settled at New Bedford, 
Mass., where, what with the whaling and fishing fleets and the 
scenery of the convenient coast, he found busy employment for 
his brush. Among the not over-numerous young New-England- 
ers who took a real interest in his work was Robert Swain Gif- 
ford, the son of townspeople who had brought him from the 
Island of Naushon, Mass., where he was born. The boy had 
been given a sound education, with a view to promoting his for- 
tunes in business life, but displayed such a marked taste for 
drawing that his artist friend encouraged him to cultivate it. 
So young Gifford became a pupil of Van Beest, and in time, 


is 
> 


after a fashion, his assistant. In 1864 he was sufficiently ad- 


vanced to open a studio for himself in Boston, and in 1866 
he found himself still further able to remove to New York, 
where, save for his periods of travel, he has since resided. In 
1867 he was made an Associate of the National Academy, and 
after a couple of years of successful labor was enabled in 1869 
to make extended sketching tours of California and Oregon, which 
he followed, in 1870 and 1871, with trips to Europe and North 
Africa, which he repeated in 1874 and 1875. From each of these 
wanderings he came back artistically strengthened and improved 
by study and observation. Not having been hampered by any 
special school, he had cultivated an original style, and his works 


were characterized by a strong treatment and a simple but fine ~ 


and harmonious color. He was especially happy in his rendi- 


INDEX AND BIOGRAPHICAL NOTES. 55 


tion of American landscape, which he invested with strong char- 
acter and much poetical sentiment. In 1865 he commenced . 
painting in water colors, in which, medium he speedily became 

as proficient as he was in oil, and he was one of the founders of 
the American Water Color Society in 1866. At the Centennial 
Exhibition in 1876 he was awarded a medal of honor for paint-. 
ing in oil, and in 1878 he became a full member of the National 
Academy. His ‘‘* Near the Coast,’ which was awarded one of 
the $2,500 prizes at the First Prize Fund Exhibition at the’ 
American Art Galleries in 1885, is now in the Metropolitan 
Museum collection. Mr. Gifford has won distinction as an 
etcher as well as painter. He isa member of the New York 
Etching Club and of the British Society of Painters Etchers, and 
was one of the most influential of our artists in bringing about 
the revival of etching in America, which has produced such note- 
worthy results of recent years. 


PAGE 
No. 33 Woods in Autumn .., ‘ : ; AS 
‘No, 112) WZ idsummer, Dartmouth ., ; : iO 7 


GRISON (JULES ADOLPHE) ; : : : Paris. 


It is a curious fact that one of the most accomplished and spark- 
ling painters of the costume school in Europe to-day, a man 
whose eminence the future will assuredly acknowledge, is, apart 
from his works themselves, almost entirely unknown to the 
world. Jules Adolphe Grison is a native of Bordeaux, and he is 
a pupilof Lequien. Hissubjects, almost entirely drawn from the 
life of the seventeenth and eighteenth centuries, exhibit him as 
an artist of infinite humor, acute judgment of character, and 
technical skill of a rare order. His color is gay and. brilliant, 
his touch rapid and clear, and he possesses the faculty, once 
unique with Meissonier, of imparting to his minutest cabinet 
compositions the solidity and breadth of works of the largest 
scale. While his productiveness is chiefly concentrated on pic- 
_ tures of the cabinet size, he has completed larger ones which 


50 


THE SENEY COLLECTION. 


No. 
No. 
No. 


GUY (SEYMOUR JOSEPH), N.A. < , New York. 


show him to be equally at home in the more ambitious dimen- 
sions to which they are adjusted. He paints interiors rich in 
detail, and landscapes bright and smiling in the sun, with a com- 
mon felicity, and his hand is as ready in the delineation of the 
most dazzling sunlight effects as in the ripeness of the most 
sumptuous shade. 
PAGE 
47 Lhe Bachelor's Towlet : : 3 ~252 
103 Lhe Critic : : : : ‘ 183 
299 Retribution : ; : ree . 288 


In 1854, the artistic colony of New York received an accession 
whose merit assured its welcome. Seymour J. Guy, an English- 
man from Greenwich, and a pupil of Buttersworth and of Am- 
brose Jerome, crossed the Atlantic to make his home in the New 
World, and, as circumstances proved, to assist in the building up 
of its art. Mr. Guy commenced his labors in America as a por- 
trait painter, with considerable pecuniary and artistic success. 
Emboldened by this, he made some essays in genre subjects 
which secured a ready favor and laid the real foundation of his 
reputation. In 1861, he was made an Associate of the National 
Academy for one of these works, and in 1865 he became a full 
Academician. A man of amiable personality and domestic tastes, 
he chose his subjects from the field of home, which makes the 
most direct appeal to the public ‘heart. A painter of sound 
technique, good in color and in drawing, and conscientious to a 
degree, he never passed from his easel a canvas upon which he 
had not expended the resources of his art. As a consequence he 
has produced comparatively few: pictures in proportion to the 
years and regularity of his labors, and has-sustained in them a 
level excellence of quality not always to be found in any single 
artist’s productions. It has been well and truly said of him that 
in his pictures which relate to scenes and incidents drawn froin 


_ child-life, with their rich color, their delicacy of. finish, and the 


INDEX AND BIOGRAPHICAL NOTES. 57 


charming sympathy with which he translates the spirit of his 
subject, he has no superior in American art. 


PAGE 


63 Making a Train : : ‘ : . 161 


HARLAMOFF (ALEXIS). . . ._ St. Petersburg. 


One of the first native painters of Russia to contribute his share 
toward the creation of an art for his country during this genera- 
tion was Alexis Harlamoff. He was born at Saratoff in 1849, 
and a precocious talent led to his being sent in boyhood to St. 
Petersburg, where he became a student in the classes at the 
Academy. He studied painting under Professor Markoff at 
the Academy, and in 1870 succeeded in winning the prize which 
entitled him to a period of study in Rome at the Government 
expense. From Rome he went to Paris, where he studied under 
Bonnat, and, with the wandering and eclectic spirit of his nation 
strong within him, he also spent several years. of independent 
experiment and development in Belgium, Holland, and Ger- 
many. In 1878 he won a second-class medal in Paris, and was 
made a member of the St. Petersburg Academy. His paintings 
are characterized by graceful drawing and agreeable color, and 
apart from his works of gezre, which are his most characteristic 
productions, he has executed a number of portraits of historical 
importance as associated with the nation of his nativity. Among 
those of the first note are to be mentioned the best portrait 
known of the Czar Alexander II., and a striking and strong 
individualization of the great Russian novelist, Ivan Turgenieff. 


PAGE 


No. 264 The Flower Girl  , , : : . 267 


HARRISON (THOMAS ALEXANDER) . . Paris. 


Of three brothers, each of whom has made a distinct artistic 
impression, the painter of ‘‘ La Crépuscule” and of ‘‘ Arcady” 


58 


f 


THE SENEY COLLECTION, ~ 


is the leader in years and the chief in artistic cultivation. 
Thomas Alexander Harrison was born in Philadelphia, on Jan- 
uary 17, 1853. His early studies at the Pennsylvania Acad- 
emy of Fine Arts and in the San Francisco Art School were 
succeeded by his settlement in Paris, where he entered himself 
as a student at the Ecole des Beaux Arts, and as a pupil of 
Gérdme. There are no indications of this master to be dis- 
covered in his style, however, for, with the rest of the gallant 
young band who went to nature for inspiration and for subjects, 
he soon passed from the influence of school, carrying with 
him, however, the admirable technique upon which he created 
his later style. In the Salon of 1880 his first exhibit, a scene 
on the Breton coast, marked him out as a man to be watched 
with interest, and two years later, his ‘‘Castles in Spain” 
denoted that critical judgment had not gone astray. This 
picture, representing an idle lad basking in the sun on the 
sea-shore, and building air-castles to the chorus of the waves 
on which his boyish fancy goes adventuring, has become 
widely known by reproduction, and secured for the painter 
the commendation and support from artists, critics, and con- 
noisseurs which is the artist’s best encouragement. Other 
works of equal quality followed in steady succession, and in 
1885 a representation of surf and sea, under a rising moon, 
called ‘‘ La Crépuscule,” secured one of the $2,500 awards of 
the First Prize Fund Exhibition at the American Art Galleries 
in New York, and is now in the galleries of the St. Louis 
Museum, to which it was assigned. This sincere and powerful 
work had secured for the artist an honorable mention in the 
Salon of that year. At the Paris Universal Exposition, 1889, 
he was awarded a gold medal, and made Chevalier de la Legion 
a@’Honneur and Officier ad’ Instruction Publique. From the 
Salon of 1890 his picture, ‘‘ Paysage, Une Riviere,” was pur- 
chased by the Socideté Nationale des Beaux Arts, for the 
national collection of France. The same year his picture 
‘* Arcady ” was awarded a medal at the Munich Salon. He 
was appointed a member of the jury of the Salon Champs de 
Mars, 1890. Mr. Harrison is in his art essentially a realist, 


No. 


HE 


INDEX AND BIOGRAPHICAL NOTES. 59 


which means a painter of realities, and also an impressionist, in 
the sense of having the faculty of experiencing and conveying 
the sentiment of a subject. When he paints the figure he en- 
dows it with the substance of life; his landscapes carry with 
them the impression of sunlight and air, and his sea has the 
mystery of fathomless depths beneath its painted waves. 


: PAGE 
201 La Crepuscule . ; : : . coe 


BERT (ANTOINE AUGUSTE ERNEST) . Paris. 


More than half a century ago, there was a young law student in 
Paris who worked in his leisure as an amateur sculptor in the 
studio of David of Angers, and as a painter in the adeer of 
Paul Delaroche. He was born in Grenoble, in 1817, and was 
generally looked upon as a likely great barrister and art col- 
lector of the future. In 1839 he graduated as a lawyer. The 
same year he astonished every one by taking the Prix de Rome, 
and going off to Italy to devote himself altogether to the 
study of art. The museum at Grenoble purchased another of 
his pictures the same year, and the general anticipation was 
that he would go on adding success to success. However, in 
Heébert’s case it has always been the unexpected that happens. 
He exhibited no more until 1848, but in 1850 he sent to the 
Salon a picture called ‘‘ The Malaria,” which fascinated Paris 
and spread his fame throughout the world. The subject was an 
Italian peasant family flying in a boat from the deadly fever 
that ravages the Pontine marshes. Thenceforth Heébert’s 
artistic position was assured. He painted historical, biblical, 
and genre subjects and portraits, and found for everything a 
ready acceptance. Poetry of conception, elegance of execution, 
and a fine feeling for color were his characteristics. To a first- 
class medal in 1851 was added the Legion of Honor in 1853, 
and in 1874 he was created a Commander of the Order. The 
same year saw him admitted a Member of the Institute, while 
foreign governments added to his share of honors. From 1866 


60 


No. 
No. 


HE 


THE SENEY COLLECTION. 


until 1873 Hébert was Director of the French Academy at 
Rome, and in 1885 he was again appointed to the position, 
which he still holds. In latter years he has devoted himself 
largely to works of a more allegorical and sentimental character, 
in which direction he has produced some remarkable decorative 
pictures. His works have an invariable distinction, a true 
sentiment, perfection of drawing, and a perfectly Venetian rich- 
ness of color. A man of strong mind and profound thoughtful- 
ness and seriousness of purpose, his place in modern art is one 
which can be filled by himself alone, and for which there will 
be no substitute when he passes away. 


PAGE 

9 Lora ; J 2 : : 7 Ree 
170 Music, : . : : : $c3 
FFNER (KARL) . : 5 : : i London. 


The proverb which notifies us that a prophet requires to go abroad 
in order to have his gifts of prescience recognized at home, is 
amply illustrated in the case of Professor Heffner. England had 
long accepted, honored, and rewarded him as a painter of the 
foremost rank, before Germany awoke to a critical comprehen- 
sion of his existence. She has since atoned for her negligence 
by loading him with praise, so that the debt may be regarded as 
in part paid. Professor Heffner was born at Wurzburg in 1849. 
He received his training at Munich, but did not really find his 
way into his proper path until he went to London and discovered 
in the scenery of England that which most directly and strongly 
appealed to his sentiment and temperament. He has painted 
Continental subjects of all varieties, from Italy to the remote 
North, but his English landscapes are those in which his greatest 
art is displayed. The alliance of land and water is his favorite 
theme. Wide rivers, showery skies, wastes of marshland, and 
the luxuriant vegetation of drowned meadows and groves rooted 
in the moist soil of alluvial streams, provide him with his best- 
loved material, Among these he is at home, as Daubigny was 


INDEX AND BIOGRAPHICAL NOTES. OI 


on the placid current of the Oise, as Millet was in the fields of 
Barbizon, and Corot among the silvery willows of Ville d’Avray. 
Next to his English subjects in quality will probably rank his 
views in the Pontine marshes, amid whose picturesque and ma- 
larial solitudes he has secured many striking and finely rendered 
passages for his brush. Until very recently, the collectors of 
England absorbed most of his productions. Since special ex- 
hibitions have been made of them in Germany and New York, 
the wider range of collectorship contends for their possession. 


PAGE 


No. 198 The Gloaming . : : : : 230 


HENNER(JEAN JACQUES). . . . Paris. 


Sixty years ago there entered the studio of Gabriel Guérin, at 
Strasbourg, a rustic-looking young Alsatian named Henner. He 
had been born at Bernweiler in 1829, and had already developed 
a marked gift for drawing. After some seasons under Guerin, 
which witnessed in him a rapid improvement, he went to Paris, 
where he entered the Ecole des Beaux Arts, and became a pupil 
of Picot and of Drilling. In 1858 he succeeded in winning the 
Prix de Rome, which gave him five years of study in Italy, fol- 
lowing which he visited and painted in Dresden, and travelled 
extensively in Holland. Commencing as an historical and por- 
trait painter, he eventually settled down to the practice of the 
loftier and more refined form of naturalism, the idealization of 
human beauty into the poetry of art. No painter since Titian 
and Correggio had succeeded in securing in the rendition of the 
nude such charm of color and purity of expression, and he was 
not long in creating a unique place for himself in his art. His 
«¢ Susannah,” in 1864, carried the day for him in Paris, and was 
purchased for the Luxembourg Gallery, of which it is one of the 
masterpieces. Among his nymphs and Magdalens Henner pro- 
duced also a number of paintings on religious subjects, of a 
grand style of execution and a noble elevation of feeling. One 
of his most original and dignified works of this order is his 


62 THE SENEY COLLECTION. 


*‘John the Baptist,” the head of the decapitated saint being 
shown on a salver, and being a masterly portrait of one of the 
artist’s friends. Henner received his first Salon medal in 1863, 
since which time the full complement of national honors has been 
successively accorded him. He was received into the Legion 
of Honor in 1873, and became an Officer in 1878. Henner, in 
speaking of himself, tells a touching tale in honor of his family. 
His father, a poor carpenter, was the first to appreciate and 
encourage his son’s talent, denying himself that the boy might 
be advanced. When, worn out with ceaseless toil, the old man 
passed away, he bequeathed the duty he had assumed to his 
children, and they, in their turn, labored to keep up and develop 
the brother of whom they were so proud. It may be added that 
Henner was worthy of their sacrifices, and that the splendor of 
his genius and the substance of its rewards have enriched those 
to whose unselfish devotion he owes the cultivation of the one 
and the possession of the other. 


PAGE 


No. 55 deal Head , : ‘ : i 156 


HOVENDEN (THOMAS), N.A. . .. —._ Philadelphia. 


A picture of unusual attractiveness at the Paris Exposition of 
1878 was entitled ‘‘A Breton Interior, 1793.” It was a his- 
torical gexre of the Vendean wars, painted with much force and a 
strong realization of character. The artist was Thomas Hoven- 
den, a native of Dunmanway, Ireland, where he was born in 
1840, but for a number of years a resident of America. He 
had received his first instructions at the Government Art School 
of his native city, and coming to the United States in 1863, had 
continued his studies at the National Academy of Design, 
working for a living by day and toiling in the night classes after 
dark. In 1874 he had made such progress that he resolved to 
devote himself entirely to art, and, going to Paris, he was for a 
year a pupil of Cabanel, and for a number more a student at 
the Ecole des Beaux Arts and a member of the famous foreign 


INDEX AND BIOGRAPHICAL NOTES. 63 


artistic colony at Pont Aven, which Robert Wylie had founded. 
His first original works were all of Breton subjects, but since 
his return to America, in 1880, he has found his material in the 
_ native life about him and in our national history, to both of 
which his brush has contributed important illustrations. His 
first important picture upon his return was, however, of a poet- 
ical subject, ‘‘ Elaine,” and upon the exhibition of this work, in 
1882, he was elected a member of the National Academy. His 
studies of negro life, so true in character and .delicate in 
humor, enjoyed the widest success, and his ‘‘ John Brown Being 
Led to Execution,” at the Academy of 1884, established his 
reputation as a painter of history. His ‘‘In the Hands of the 
Enemy,” at the Academy of 1889, representing an episode of 
the Battle of Gettysburg, was the centre of attraction for the pub- 
lic at that exhibition. Mr. Hovenden has won a separate reputa- 
tion as an etcher, by the production of some powerful plates after 
his own pictures, and he is a member of the Society of Ameri- 
can Artists, the American Water Color Society,.and the New 
York Etching Club, 


PAGE 


34 Grandfather's Commission : : . 146 


HUGUET (VICTOR PIERRE)... er her Paris. 


Having learned to draw with a compass and a ruler in an arch- 
itect’s office to please his parents, Victor Pierre Huguet entered 
as a student at the Marseilles Academy to please himself. He 
found a good master there in Loubon, who is less known as a 
painter than as the friend of Millet and the other great artists of 
the Barbizon group. Loubon was one of those men who have 
the gift of teaching, and under his guidance the feet of young 
Huguet did not stray from the path. He spent a year in Egypt 
after leaving the academy, and when Duraud-Brager was sent 
on a commission to the East, it was Huguet’s good fortune to 
be taken by him as his azde. They were at Constantinople at 
the outbreak of the Crimean war, and after serving through it on 


64 


THE SENEY COLLECTION. 


the fleet, Huguet went back to Egypt again. In 1858 he 
settled in Paris, and in 1859 he exhibited for the first time at 
the Salon, he being then twenty years of age. A fortunate sale 
of pictures in 1867 enabled him to visit Algeria, and here he 
commenced the series of subjects from that colony by which he 
has become known. He has practically made Algeria his home, 
for he has his house and studio there, and is more a visitor to 
than a resident in Paris ; consequently, his scenes of the camp 


and the desert are really painted on the spot. The glaring and - 


blinding brilliancy of sunlight with which he pervades his pict- 
ures, is the light in which they are executed, mirrored, as it 
might be, on the canvas by the magic of his hand. Huguet’s 
first Algerine picture, which he exhibited in Paris in 1866, was 
purchased by the Government, and since that time his works 
have been acquired for the local art museums of all the greater 
French cities, and have even found a place in the palace of the 
Sultan at Constantinople. He stands supreme among living 
painters of oriental life and scenery, both as a colorist and a 
delineator of the natural features of the country and of human 
form. Although ranked among the impressionists, he is in fact 
a realist of extraordinary finesse and force of technique. 


PAGE 
No. 60 Sathing the Horses , ; , . . 159 
INNESS (GEORGE), N.A. : en ht : New York. 


The voice of criticism is unanimous in according to George 
Inness the place of first eminence in American landscape art. 
His fame is international, and his pictures are received abroad 
with equal honor to that which they enjoy at home. He paints 
nature as other men paint history, and gives to his least sig- 
nificant studies a touch of that grand style which characterizes his 
more matured works. He was born at Newburgh, N. Y.,in 1825, 
and commenced his art life as an engraver on steel. A some- 
what frail physique and consequent ill health from the confine- 
ment of his profession forced him to abandon it, never to take it 


* 
ee 


INDEX AND BIOGRAPHICAL NOTES. 


65 


up again. During the years of his boyhood his health precluded 
any absorbing study, and it was not till he was twenty years of 
-age that he received any formal lessons in painting. These were 
imparted to him by Regis Gignoux, and constitute his entire art 


study under instruction. 


He, however, studied much after his 


own fashion, and having married in 1850, was enabled, by the 


friendly liberality of a wealthy patron, to visit Europe. 


He 


began to paint in the elaborate and detailed style then in vogue, 
but the bent of his own ideas, and experience with the works of 
others during his various visits and residences abroad, gradually 
strengthened and broadened his manner, and created in him that 
self-reliance and individuality of thought which reflect them- 
selves in his later work.. A student of all that was good, irre- 
spective of schools or methods, a thoughtful and analytical 
nature, and the capacity to create out of facts new combinations 
and applications of them, in time produced their natural result 


in him. 


It is to be noted that Mr. Inness is one of the few of 


our older artists who have in their art remained young. He has 


never ceased to advance. 


One style was but the stepping-stone 


to another, and all experience has been to him ‘‘an arch where- 
thro’ gleams the untravelled world, whose margins fade forever 


and forever from the sight.” 


A grand figure in our art, and an 


immortal one, he still preserves in his: life the simplicity and 
frankness of his earlier years ; and, living for his art alone, is 
yet independent of his art, a personality of singular and fascinat- 


ing interest. 


Mr. Inness was elected to an Associateship of the 


National Academy of Design in 1853, and in 1868 became a ful] ~ 


Academician. 


His works, which are practically a record of his 


art'life, include many episodes of European as well as American 
landscape, and they culminate in the magnificent series of native 
subjects which he has executed during the past decade of his 
ceaselessly industrious career. 


4 
37 
46 
66 


Sunset 


Springtime, Medfield, Mass. | 


The Last Glow 


5 


on 
. 


Winter Moonlight. 


» 


PAGE 


aoe 
. 147 
EIS2 
163 


PAGE 
No. 116 Twilight . ; : . 189 
No. 136 Sunset. : ; : ‘ . 199 
No. 150. October”: : ‘ . 209 
No. 168 A Virginia Sunset . ; , aaza5 
No. 182 Zhe Coming Storm . é ; ‘ a2 a2 
No. 214 Sunset, Nantucket. : : eR 
No. 224 Moonlight in Virginia. ; ; vaud 
No. 247 Zhe Evening Glow . : ‘ Mecr 
ISABEY (EUGENE LOUIS GABRIEL) . Deceased. 


THE SENEY COLLECTION. 


The son of a famous master of miniature art, Eugéne Isabey | 


lived to overshadow his father’s fame. He was born at Paris 
in 1804, and commenced his career as a painter of genre. He 
early began to experiment in marine painting as well, and 


during all his long career divided his labor between these two 7 


lines of subject. He received a first-class medal as early as 
1824, and in 1827 was awarded another, the first being for a genre 
and the second for a marine picture. In 1830 his fortune was 
finally assured by his appointment as royal marine painter with 
the expedition to Algiers. His works were received into the 
most important museums of France, and collectors contended for 
them for private galleries. Toasumptuous and glowing palette, 
Isabey allied a remarkable nervous facility of handling, which 
gave to his pictures a vivacity and sparkle of execution in keep- 
ing with their splendor of color. His style was thoroughly 
original and his sense of the picturesque so strong, that the sim- 
plest subjects acquired an interest through his treatment of them. 
He belonged to the romantic rather than the realistic school, and. 
the same spirit which animated Hugo and Gautier in literature, 
inspired him in his art. He was as successful in water colors as 
in the more powerful medium, and the many lithographs which 
he at one time executed are now highly prized. Having had the 
Legion of Honor conferred upon him in 1832 for his pictures 


during his Algerine expedition, he became an Officer in 1852. - 


INDEX AND BIOGRAPHICAL NOTES. 67 


Ceaselessly active during a career of over sixty professional.years, 
he left perhaps fewer works unworthy of his genius than any 
other painter of his period. His fortunate gift of impressing 
himself thoroughly on everything he touched never deserted 
him, and his command of color remained with him to the last. 
He died in 1886, and the sale of his studio collection was one of 
the art events of the Parisian year. 


PAGE 
8 The Black Squall. ' : t i ta3 
108 Onthe Jetty. : 5 ; ‘ . 185 


135 The Fisherman's Family . : . . 199 
228 The Wedding Festival : : k roa 
B07, t. Jiubert’s Day. : é : 205 


ISRAELS (JOSEF). . . . .  . Amsterdam. 


Josef Israels, who stands beyond peer at the head of the Dutch 
art of modern times, was born at Gréningen in 1824. He be- 
came a pupil of Cornelis Kruseman in Amsterdam, from whom 
he learned the frank and simple style that has characterized his 
native art since the days of the older masters. From the studio 
of Kruseman he wandered to the altogether antithetical atmos- 
phere of the Picot atelier in Paris. The result of his studies 
was a historical composition in imitation of the grand style, 
the subject, which was shown in 1855, being ‘‘ William the 
Silent Defying the Decrees of Spain.” Its comparative failure 
directed the artist’s talent into a more congenial channel, and 
he commenced the production of those genre pictures with 
which his name will be forever associated. He sought his sub- 
jects, as all of the great painters of Holland have, in his own 
land, and in the life of its rustic and semi-maritime population 
found his best inspiration. He has done for the peasantry of 
the Netherlands what Millet did for that of France, but with a 
more hopeful and less tragic spirit. The pleasures and pains of 
the poor he treats with a tender brush, through which flows the 
sentiment of a sympathetic heart. His color, rich and subdued, 


68 


JACQUE (CHARLES EMILE) . . . . Paris. 


THE SENEY COLLECTION. 


but never sombre, lends to his works a noble seriousness and 
adds to their human sentiment a distinct poetic charm. It has 
been through productions of this character that Israel’s fame 
has come to him. Medalled in Paris in 1867, in the third class, 
he received a first-class medal in 1878. Received into the 
Legion of Honor in 1867, he became an Officer in 1878. It was 


always to the painter of humble Dutch life that the French - 


juries extended their honors, and his earlier essays at historical 
composition are forgotten in his later fame, and disdained by 
himself since his genius received its true direction and com- 
menced to earn him the position which he legitimately holds in 
the art of Holland and of the world. 


PAGE 
23 The Fisherman’s Children : : / 140 
43 Making Pancakes . : : : iso 


106 Home Duties . ; : : . 184 
142 The Sailboat . d : : 3 eo 
181 The Frugal Meal . : ; ; . 222 
208 The Fisherman’s Daughter : : . 236 
266 When One Grows Old 2 ; : . 268 
298 Infancyand Age  . : ; . 284 


Charles Emile Jacque is the last survivor of the era of artistic 
revolution in France which has revolutionized the art of .the 
world. His early life was even more varied and laborious than 
usual with the men of 1830, but happier in having involved fewer 
vicissitudes for him. Born in 1813, he was in early life a map 
engraver and a soldier. Later he practised engraving on wood, 


from which he rose to drawing and etching. The practical side 


of his character enabled him to escape those severe privations 
which harassed many of his gifted contemporaries, and gave 
him opportunities for artistic experiment which resulted in his 
early acceptance as a painter of landscape and animals of the 


in the portfolios of collectors. 


INDEX AND BIOGRAPHICAL NOTES. 69 


ane 


first rank. His earliest exhibits were of etchings and engrav- 


ings, and though he began to paint in 1845, and was medalled 
for engraving in the Salons of 1851, 1861, and 1863, it was not 
until 1861 that he received official recognition as a painter. In 
1867 he received the Legion of Honor. Jacque is by choice a 
painter of rustic life with a predisposition to the humbler animal 
side of it. His hobby fora long time was for poultry. He bred 
fowl, even wrote a book upon them, and made them the most 
important accessories of his barnyard and village scenes. The 
pig found also its share of favor at his brush, but his most rep- 
resentative and characteristic pictures are those in which sheep 
play a prominent part. His early training renders him a firm 
and precise draughtsman, and his handling of color ‘is broad, 
decisive, and powerful. While extremely careful and accurate 
in detail, he never descends to over-elaboration, and his command 
of textures in the delineation of animals is supreme. It has 
been his good fortune to enjoy a high degree of deserved popu- 
larity, and so great was the demand for his pictures that for a 
number of years he did not appear as an exhibitor at the Salon, 
which may doubtless account for his not having secured a longer 
list of honors. Apart from his painting, Jacque has earned an 
eternal meed of gratitude by his service in the revival of the art 
of etching, and examples of his plates are now treasured rarities 


PAGH 

5 Morning . : : A : ; a eey 
45 Landscape and Sheep ; : : . 151 
109 The Hillside Pasture ; . 186 
140 Stormy Weather : : i 208 


. 203 A Morning Call : ‘ : : 234 


251 Lhe Shepherd . : ‘ : : . 260 


JACQUET (JEAN GUSTAVE) ... : , Paris 


A pupil of Bouguereau, Jacquet has chosen for his artistic avoca- 
tion the perpetuation of the charms of womanhood, His genre 


7O 


THE SENEY COLLECTION. 


pictures and his portraits are almost entirely devoted to the fairer 
sex, whose grace and beauty he renders with beautiful color and 
a graceful brush. His female portraits especially have a 
strength, expressiveness, and delicacy of tone that render them 
essentially pictures. Born in Paris in 1846, Jacquet has always 
been a thorough Parisian in his art. He commenced to exhibit 
at the Salon before he was twenty years of age. In 1868 he 
gained his first medal, and for a period produced pictures of a 
historical character, the subjects being usually drawn from the 
past. It was not until his admission into the Legion of Honor, 
in 1879, that he began to give his attention to modern life. As 
he himself says, when he began to paint, the fashion of the day 
made the prettiest woman ugly and ungraceful, and he was 
forced to go back to the sixteenth century for material. Since 
the abolition of the crinoline he has returned to the present. 
Jacquet owns in the Parc Monceau one of the most luxurious 
studios in Paris, and his house is a perfect museum of antiquities, 
many of priceless rarity and historical interest. He is strongest 
and most brilliant in single-figure pictures, as a painter of which 
he ranks among the foremost artists of France. 


PAGE 

6 The Brunette . : : : Saae . 132 

. 100 Winter ., TY ee ; ; E . 181 
. 169 Roused from Reverie : : : . 216 
. 225 The Falconer . : ; ; : . 245 


JOHNSON (EASTMAN),N.A. . . «New York. 


At the head of American portrait and geve painters, and occu- 
pying in society a position of equal honor and regard, Eastman 
Johnson is a unique figure in our art of the present half of the 
century. Born in Maine, he began as a young man to earn his 
living by portraiture in crayons, in which he met with sufficient 
success to enable him to make a voyage to Europe and spend 
two years in Diisseldorf, where he first painted in oil. In Italy, 
Paris, and Holland he perfected his powers, and here he exe- 


INDEX AND BIOGRAPHICAL NOTES. 71 


cuted the first paintings by which he attracted attention. His 
subjects were of the humble life around him, and in 1860, when 
he returned to America and became a National Academician, he 
commenced to look for material in our own more picturesque 
than pretentious surroundings. His delineations of domestic 


life, his negroes and country children, pictures of farm labor and 
"merriment, and the rest, stamped him as an acute observer as 


well as an able technician, and gave his excellence of style a 
permanent place in popular favor. His was an art that grew. 
The reflection of his early schools became absorbed in a thor- 
oughly original style, characterized by fine, 1ich color, tender 
depth of tone and great vigor of broad handling. In his por- 
traits he often reached a truly historical grandeur of characteriza- — 
tion and execution. No American artist has ever exhibited 
greater individuality or more decided independence in choice 
and treatment of subject than the painter of ‘‘ The Corn Husk- 
ing ” and ‘‘ The Old Kentucky Home,” to whom every phase 
of American life seems equally accessible, and in whom New 
England and the Great West, the North and the South, find an 
equally sympathetic and truthful interpreter. 


. PAGE 

meer ize Culprit... : 140 
No. 118 Sunday Morning (in casita Aas 

W.\Whittredge, N.A.) . . 190 

No. 141 Zhe Bath é : F : , . 202 

No. 227. Zhe Pension Agent . / : ‘ . 246 


JONES (H.BOLTON),N.A. . . .  . New York. 


One of the present generation of American landscape painters 
who has achieved a well-merited success, H. Bolton Jones is an 
illustration of how originality of ideas and singleness of purpose 
may triumph over the influences of foreign travel and surround- 
ings. Mr. Jones is a native of Baltimore, born in 1848, and 
began painting in that city. He has travelled abroad, and his 


72 


THE SENEY COLLECTION. 


style bas been strengthened and rounded out by contact with the 
great schools of modern art, particularly in France; but in his 
representation of native landscape he is ever and always original 
and thoroughly national in thought and feeling. His preference 
is for the simpler and least ostentatious phases of pastoral scen- 
ery, and he has provided us with a valuable record in the many 
admirable works which have left his easel. He adheres closely 
to detail, but exercises a fine discrimination between detail and 
over-elaboration. Bright and sunny scenes are those which he 
most favors, and he paints them directly from nature. His 
color is strong and clear, and his technique marked by a mas- 
terly precision and decisiveness of touch. It was in 1874 that 
Mr. Jones’s first exhibit at the National Academy of Design was 
made, the subject being ‘‘ Summer in the Blue Ridge.” At the 
Centennial Exhibition, in 1876, his ‘‘ Ferry Inn” gave a decisive 
turn of critical favor in his direction, and his ‘‘ Return of the 
Cows, Brittany,” won commendation for him at the Paris Expo- 


- sition of 1878. At the Salon and at all of our American exhibi- 


tions of art his pictures have acquired renewed and increased 
regard, and among private collectors they enjoy the highest es- 
teem. Mr. Jones was elected an A. N. A. in 1881 anda National 
Academician in 1883. He is alsoa leading member of the So- 
ciety of American Artists and of the American Water Color 
Society, and displays in the latter medium a proficiency and 
power that equal his work in oils. 


PAGE 
No. 167 September : : 215 
KNAUS (LUDWIG) " : . ‘ i Berlin. 


Ludwig Knaus enjoys the unique distinction of being accepted 
by Germany as her chief painter of gewve, and by the world as 
one of the leading masters in that walk. He owes this double 
triumph to the variety and independence of his genius. Paint- 
ing in Germany and delineating German subjects, he still does 
so in a style so original, so brilliant, and so cosmopolitan that 


INDEX AND BIOGRAPHICAL NOTES. 73 


his pictures command the same attention from the stranger, and 
exact the same respect and admiration for him, as they win for 


him at home. Knaus was born at Wiesbaden, in 1829, He 


was a pupil at the Diisseldorf Academy of Sohn and Schadow, 
but his graduation in art, after a couple of visits to Italy, oc 
curred in Paris, where he spent eight years studying the methods 
of the French painters. It is to this that he owes the emanci- 
pation of his style from the formality and mannerism of his 
original schools, and of all German painters of our time, he is 
probably the only one whom the French artists accept with 
enthusiasm as one of themselves. In 1858 Knaus won his first 
laurels with his magnificent picture, ‘‘ The Golden Wedding,” 
which he followed in 1859 with ‘‘ The Baptism,” and ‘‘ The 
Morning After the Kirchweih.”” Since 1860 he has resided in 
Germany, where he was at the head of a strong and growing 
school in the Berlin Academy, until he resigned his professorship 
in 1884. To Knaus has fallen nearly every honor-the great 
artistic institutions of Europe can accord. Medals and diplo- 
mas have been conferred upon him. He was made a member 
of the Legion of Honor in 1859, and has been received into the 
chief academies of the Continent. The genial humor, fine 
humanity, and keen comprehension of human nature revealed in 
his pictures are a reflection of the character of the man himself, 
and his amiable personality has largely aided his genius in 
securing him an international popularity. He is a master of 
technique anda colorist of the first quality. The uniform ex- 
celleuce of his productions has been noted as characteristic of 
the man who, whether employed upon a simple study from 
nature or upon the most elaborate and ambitious composition, 
considers no work sufficiently well done upon which he has not 
done his best. 


PAGE 
No. 21 Letina . ; : : : e210 
No. 40 A Rustic Rose . ; ' . 149 
No. 84 The Goatherds . ; 172 
pet. She Coquette .. : : : . 186 


PAGE 
No. 160 Zhe Invitation , aie shea 
No. 183 Thoughts of Better Days . : ‘ . 223 
No. 241 Zhe Veteran ., visa ; - iu253 
No. 250 Lhe Old Witch ; oie , . 259 
No. 301 Zhe Chila’s Funeral ? > eee a 
KNIGHT (DANIEL RIDGEWAY) .  . . Paris, 


THE SENEY COLLECTION. 


D. R. Knight enjoys the distinction of being the only American 
ever received into Meissonier’s studio as a pupil. It was in 1876 
that he came under the influence of this master, having been 
previously a student of the Ecole des Beaux Arts and of Gleyre. 
A Philadelphian by birth, Mr. Knight received his first art les- 


sons at the Academy of his native city. He visited Paris at an _ 


early age, returned to America once, and finally, in 1872, settled 
permanently in France. His acquaintanceship with Meissonier 
was accidental. The latter’s brother-in-law, the painter Stein- 
heil, and Knight occupied adjoining studios, and becoming 
friends, Steinheil introduced his neighbor to Meissonier, who 
took a fancy to him and became his friend and adviser. The 
American became in no sense an imitator of the great French- 
man, however. Indeed, from the time of his acquaintance with 
him he ceased painting the small costume pictures by which he 
was first known and began to devote himself to studies of peas- 
ant life on a larger and broader scale. Through these he, in 
time, became popular on both continents. Good character, 
cheerful color, and an interesting choice of subjects form their 
chief charm. <A close observance of nature in its out-of-door 
effects is to be noted in them. Mr. Knight was one of .the first 
of modern painters to set up his easel in the open air, and his 
glass studio in the garden of his picturesque residence at Poissy 
is famous. For a long time he exhibited regularly at the Paris 
Salon and the National Academy of Design in New York, but 
during recent years his works in this country are principally seen 


a 


© 
& 
F 
a 
‘2 


No. 94 Day Dreams ., : aoe : ry 


INDEX AND BIOGRAPHICAL NOTES. 75 


in dealers’ galleries and private collections, though he still con- 
tinues his contributions to the Salon, 


PAGE © 


LA FARGE (JOHN), N.A. : : =. New York. 


A painter of lofty ambitions and a sincerity that borders on de- 
votion, it is natural that the impress of John La Farge upon the 
artistic spirit of our time should be deep and lasting. No artist 
of so superior an aim and of an art so highly intellectual, spirit- 
ual, and poetical in feeling, could labor long without planting 
good seed, especially in a soil as responsive as our own. Mr. 
La Farge was born in New York in 1835, and was the son of an 
eminent French merchant then settled in this city. He became 
a pupil of William M. Hunt, but much of his artistic education 
has been derived from independent study of the masters during 
his frequent visits to Europe, which began in 1856. His first 
public appearances as an artist were made with his illustrations 
of the poets, and he was widely known as a very skilful and 
original draughtsman on wood before he won his spurs as a 
painter. His greatest achievement in graphic art was probably 
his illustrations to Browning’s poems, published in 1859. In 
painting, modelling, and sculpture, he now appeared with invari- 
able success. He painted landscapes and figures, pictorial, 
decorative, and gexre compositions, and in every medium, from 
pure fresco to water color, with well-balanced skill, and made a 
special study of glass-painting, to which he is now almost exclu- 
sively devoted. The magnificent results of his labors in this 
walk are to be seen in the memorial windows at Harvard Col- 
lege, and various churches and public and private buildings of 
this country, and his altar-pieces and mural decorations in oil and 
wax colors are undoubtedly the finest works of their order that 
American art has produced. Such of them as have been exhib- 
ited abroad have extorted unqualified praise from foreign critics 
and connoisseurs. In his easel pictures, which are now com- 


76 THE SENEY COLLECTION. 


paratively rare, Mr. La Farge produces gems of imaginative, 
suggestive, and delicate art, breathing the soul of nature, and 
with an organic strength and vitality of color. His flowers pos- 
sess a peculiar excellence in their purity and charm of color, in- 
spired by a fervent imagination, which gives to the humblest 
object a portion of the artist’s inmost life. Mr. La Farge has 
recently visited Japan and brought back many souvenirs of his 
sojourn there. He was made a Member of the National Acad- 
emy in 1869, and is also a Member of the American Water Color 
Society and of the Society of American Artists. 


PAGE 


No. 20 Autumn Landscape . ; ; : . 139 


_LAURENS (JEAN PAUL) .. 


5 Paris. 


The art of Jean Paul Laurens is an art of tragedy and dramatic 
power, governed by an earnest and masterly intellect. Born at 
Fourquevaux in 1838, and schooled at the Academy of Toulouse, 
he completed his studentship in Paris under Cogniet and Bida, 
and in 1863 appeared in the Salon as the painter of ‘‘ The Death 
of Cato.” This work, while displaying great ability and force, 
still reflected some of the influences of his masters, but the rough 
school of labor through which he passed rapidly brought his 
originality to the surface. Forsome years he travelled from place 
to place, painting cheap decorations for country churches, until 
the great encyclopedia compiler, Larousse, found him out and 
purchased a picture which established his position and gave him 
his firm hold upon fame, In 1869 he received his first medal, 
and in 1872 a medal of the first class. He was received into the 
Legion of Honor in 1874, and became an Officer in 1878, having, 
in 1877, received the Grand Medal of Honor. One after another 
he completed a series of magnificent and majestic historical pic- 
tures, most of them of a tragic character, but all characterized by 
vivid realization of their subjects and marked by the closest his- 
_ torical and archeological accuracy and the highest order of tech- 
nique. He is preéminently successful in securing dramatic 


4 
2 


INDEX AND BIOGRAPHICAL NOTES. 77 


effect in his compositions, without theatrical exaggeration, and 


_ his types of character are always so well defined and true that 


No. 
No. 
No. 


they have been justly called resurrections of history. Apart from 
his historical productions Laurens has painted many splendid 
compositions for the decoration of churches and other public 
edifices ; he has produced water-colors in which his grave and 
powerful art in oil is duplicated, and has contributed notable 
designs in illustration of works for the publishers. He stands 
without dispute at the head of modern historical art in France, 
not only as a thinker and creator but as a technician and colorist 
upon whom all the contending factions of art unite in acknowl- 
edging a master in a place entirely his own. 


PAGE 
65 The Widow ., : : z s102 
199 The Grand ge ; ; ; Be23T 
297 The Separation . ; : : . 287 


LEFEBVRE (JULES JOSEPH) Seta: @ee Paris, 


The winner of the Prix de.Rome in 1861 was a young man, a 
pupil of Cogniet, born at Tournan in 1834, named Lefebvre. 
His picture betrayed in him a scientific study of form and a 
classical bent of feeling, and experience has only confirmed 
this original impression. In 1865 he received his first medal 
in the Salon; and it was followed by others until, in 1870, he 
was admitted into the Legion of Honor, for his masterpiece 
‘**Truth,” which is now in the Luxembourg collection. This 
picture, representing Truth as a beautiful nude woman, at the 
bottom of her well, holding up her mirror, which blazes with the 
reflection of its own light like an electric flame, is known by the 
reproductions throughout the world. ‘To the classical and alle- 
gorical subjects toward which he naturally leaned, Lefebvre 
added also a number of portraits of the first distinction, to which 
he lent, in the arrangement and delineation of his sitters, much 
of the highly pictorial quality of his imaginative compositions. 


78 


No. 
No. 
No. 


THE SENEY COLLECTION. ‘ 


He occasionally painted gexve as well, and in it as in all else 
conveyed the refinement and purity of his style. As a painter 
of the nude he, above all Frenchmen of his time, approaches 
closest to the Greek ideal, and makes of woman a glorious tri- 
umph of form and color as remote from mere fleshliness as a 
classical statue. One of his strongest points is his wonderful 
command of anatomy, of which he has made an exhaustive 
study, and his figures are held up to students as models, not 
only of superficial execution, but of organic accuracy and power. 
To such an extent does he carry his correctness of drawing and 
his firmness of modelling that it has been well said of him that 
any of his nymphs or goddesses could be produced in sculpture 
without a departure from his lines. To the Grand Medal of 
Honor which he received in 1886, M, Lefebvre added a Grand 
Prize at the recent Paris Exposition. He has been an Officer 
of the Legion of Honor since 1878. 


PAGE 
58 Speranza , : ; mi ‘Lee Be 
139 fatima . : : : ‘ e208 


217 Young Se : s , : i . 241 


LEROLLE (HENRY) : : : : Paris. 


In the very van of the artists to-day, who are creating the new 
school of which the poetry of nature is the essential spirit, is 
Henry Lerolle. A Parisian by birth and schooling, he is less 
of a Parisian in his art than any other living painter of equal 
capacity. He is, over all, a student and worshipper of nature, 
seeing her with his own eyes and translating her in poetic 
phrases. To him she is ever the suggestion and foundation of 
poetry, tender and serene, without melancholy or gloom in her 
misty moonlights, her twilights mystical without sombreness, 
and her sunsets, in which the last glow of day makes a harmoni- 
ous splendor in a sky cooled by the evening breeze. Lerolle, 
commencing as a painter of gexve and history, soon passed over 


weer. 
(+ 


INDEX AND BIOGRAPHICAL NOTES. 79 


to the open-air school, and his airy landscapes, with beautiful 
trees, animated with excellent figures and cattle, secured a 
prompt critical acceptance. Reaching still farther in his ex- 


' periments, the artist next produced subjects of which his 


magnificent ‘‘ At the Organ,” presented by Mr. Seney to the 
Metropolitan Museum of Art, isa type. Then he turned his 
attention to peasant life, in association with its labors, somewhat 
in the style of Millet, but more hopefully and with a gentler 
and happier spirit pervading them. He paints broadly and 
solidly, and has such a remarkable perception of pictorial qual- 
ities that he can give interest to even the crudest and most 
unpicturesque objects and costumes. He occupies the not too 
common position in the art world of a man of independent for- 
tune, so that his choice of material is governed or swayed by 
no necessarily commercial considerations. As a consequence, 


painting what he chooses, and as he chooses to paint it, the strong 


personality of the man is visible in all that he produces, and the 
changes of his moods and inclinations form in his works as 
clear a history of his artistic life as could a printed page. 
Lerolle received his first Salon medal in 1879, and each year 
adds to his honors at home and abroad. 


: Lats PAGE 

‘No. 30 Zhe Wanderer , : Veber eet Se 
No. 64 Resting . ; Pe eee 4, eee Oe 
No. 93 Zhe Shepherd . era: : di nee AS 
No. 121 Watching and Waiting . : : . 192 
No. 166 Bringing Home the Flock . : E . 214 
No. tot Morning at the Farm : 227 
No. 249 The Homeward Path : ; e505 
MOmZ05" GUssip  *, : ; : : . 268 
LEYS (BARON HENDRIK) . . .. Deceased, 


Whatever Belgium is in art to-day, in that art of sturdy realistic 
romance which reflects still some of the glories of the time when 


80 


THE SENEY COLLECTION. 


No. 19 Hunter Resting at the Inn : : . 138 


the Guilds of Ghent, Bruges, and Antwerp had the power of 
kingly states, it owes in its greatest measure to Hendrik Leys. 
Born in 1815 at Antwerp, Leys was a pupil of a strong master 
—his brother-in-law—De Breeckeleer, and of Baron Wappers. 
He was also a close student of Pieter De Hoogh and Rembrandt. 
His earlier essays in art were rather imitative, and his first pic- 
tures exhibited more merits of sound ¢echnigue than of origi- 
nality. At the age of thirty-seven, however, when his mind was 
ripe for knowledge and his hand skilled to seize upon it, he 
broke away from Belgium, and set out upon his travels of 
Europe. He came back, thanks to the influence of the great 
art of Germany especially, a new man; and in 1853 his pictures 
in his new manner, at the exhibition in Ghent, woke Flemish art 
into a frenzy of new life. He had won the great gold medal at 
Brussels in 1835, and been made a cavalier of the Order of Leopold 
in.1840. Now his greatest honors showered down upon him, 
The medals of Paris fell to him in 1855 and again in 1867. He 
received the Legion of Honor in 1862, and the same year was 
made a baron by his own king. The public and private gal- 
leries of Europe contended for examples of his hand. Wealth 


followed fame. In his own country he was commissioned to 


execute masterworks for public edifices which have made his 


name immortal. He surrounded himself with those best laurels * 


of an art-master, pupils of genius destined toished a reflection of 
their own honor upon him, and when he died, in 1869, he stood 
among the leaders of the leading art of Europe, and honored of 
them all. His art has fixed the value of his services, and pos- 
terity can only add to hisfame. Belgium:is made splendid by 
his works and those of his—pupils. Im England one of these 
latter has taken his place at the very head and front of insular 
art, in the person of Laurens Alma.Tadema. It has been justly 
remarked of him that no European state which is possessed of an 
art is without some obligations to’ his genius and its influence. 


PAGE 


No. 200 Zhe Declaration i : ‘ gr 2t 


: FA 
es ae ee ee — 


af 
-—_ | 


2 ANDEX;AND BIOGRAPHICAL NOTES. SI 


L’HERMITTE (LEON AUGUSTIN) . a ; Paris. 


At Mont St. Pere, half a century ago, there lived an old and 
expert vine-dresser, who had given his son an education which 
enabled him to become the village schoolmaster. This son had 
married and had a son in his turn, and it was a peculiarity of 
this urchin that he was better pleased to be off with his sturdy 
grandfather, when the old man went into the fields to prune and 
trim the grapevines, than in the school where his father taught 
the rules and symbols from books. The youngster, moreover, 
had a knack of making little drawings with the lead pencil of 
the scenes of which he was a spectator and of the characters 
whom he met. The old grandfather had his misgivings, but 
a vague premonition of a truth beyond his intelligence was 
stronger than his fears. So the schoolmaster’s son was allowed 
to become an artist, and to this day his greatest art has been 
consecrated to the vineyards and the school-house, to scenes of 
the life of his grandfather and his father. A generous country 
gentleman, who recognized the boy’s genius, defrayed the ex- 
penses of his education in Paris, where, in 1863, he became a 
‘pupil at the Ecole des Beaux Arts, and also entered the atelier 
of Lecoq de Boisbaudran. He drew on the block for the book 
publishers, designed on stone for the poster-printers, made his 
career, in fact, out of the force and sturdiness of his own nature, 
and learned to paint while he was earning his living. In 1874 
he received a third-class medal for a Salon picture, called ‘‘ The 
Harvest.” Ten years later he was admitted into the Legion 
of Honor. He is the most expert of living charcoal draughts- 
men, and as a draughtsman in pastel has no peer. His color 
grows more forcible and ripe as he gets farther away from his 
many years’ devotion to graphic art, and as a water colorist and 
an etcher he has won the highest honors. He adheres to the 
rustic subjects with which his youth made him familiar, and it 
has been said of him that the mantle of Millet could not fall on 
worthier shoulders, 


No. 196 WVoonday Rest . piety ; : 220 
6 


82 . THE SENEY COLLECTION. . 


LOWITH (WILHELM) . a, SO See ces 


Munich, whose Academy attracts the talent of all Europe east- 
ward of the French border and north of the Alps, has been the 
school of some of the greatest painters of modern Austria. One 
of the strongest of the younger talents of Vienna to be attracted 
to the Bavarian art capital was Wilhelm Léwith. He was born a 
in Vienna in 1867, had commenced his studies at the Vierna 
Academy, and had already gained considerable consideration as 
a possible leader in that pseudo-classical school into which Aus- 
trian art has drifted of late years, when he succumbed to the 
irresistible bent of his taste and settled in Munich as a student 
at the life schools and a pupil of Professor Lindenschmidt. His 
next step in advance was the abandonment of his vast decorative 
canvases for cabinet pictures, and his success in these was 
speedily assured. He has made a specialty of eighteenth cen- 
tury subjects, and the spirit, wit, and delicacy with which he 
endows them have placed him among the first painters of this 
species of genre in Germany. He has his studioin Munich, and 
in the full flush and vigor of productive and progressive youth 
has become already one of the marked men in European exhi- 


bitions. . 
PAGE 
No. 240 The Duel : : ‘ E : Mies? 
| 

MADRAZO (RAIMUNDO DE) : ‘ : : Paris. 
An artistic family which holds in Spain a place anolagous to . . 
that of the Bretons in France is the Madrazo. The head of the | 
house, Don José de Madrazo, died in 1859, as head of the Mad- ! 


rid Academy. His son, Don Federico, was a pupil of Winter- 
halter in Paris and a noted painter in portraiture, genre, and his- 
tory. It remained for the son of Don Federico to crown the 
artistic glory of the house. Raimundo de Madrazo was born in 
Rome, in 1841. His father was his first instructor, and from 
his tutelage he graduated into the Paris Ecole des Beaux Arts, 
receiving, later, instructions from Léon Cogniet. In 1878 the 


Ir. ee 


a 7, 


INDEX AND BIOGRAPHICAL NOTES. 83 


brilliancy of his talent, so thoroughly Parisian in spirit and 
Spanish in nerve and color, won him a double honor not com- 
monly accorded. .He received, for his work at the Salon of that 
year, a First Class Medal and the ribbon of the Legion of Honor. 
Since that auspicious acknowledgment of his ability, Madrazo 
has advanced from success to success. Some of his most brill- 
iant productions have been of Spanish origin, but he has re- 
mained faithful to Paris as a resident, and generally so in his 
choice of subjects. He has produced some portraits noteworthy 
for their fine characterization and their daring exploits of color 
and of technique, but it is upon his works of gexre that his fame 
has its securest foundation. His younger brother, Ricardo de 
Madrazo, has also developed into an artist of ability and origi- 
nality, and some confusion of identity has been occasioned by 
the similarity of their initials. There is, however, only one 
Madrazo who will be recognized as the master of the family, 
upon the just grounds provided by himself. With both France 
and Spain vehement to claim him, his national and artistic 
identities are so interwoven that it is not impossible that he may 


become a subject of international dispute. 
PAGE 


75 Mme.la Marquise . : . $ . 167 


MARR (CARL) ; f : : Munich. 


At the exhibition of the National Academy of Design, of this 
city, in 1881, No. 408 of the catalogue was a large and striking 
picture which had been exhibited with success in Munich and 
wnich was entitled ‘‘ The Wandering Jew.” The accursed and 
hopeless Ahasuerus, condemned to eternal existence, old and 
worn with travail.and despair, wept on a desolate seashore over 
the corpse of a beautiful young girl, drowned in her flush of 
hopefulness, whose fate he envied. The execution of the picture 
was powerful and the dramatic,and pathetic quality of it aroused 
universal attention. It was subsequently purchased by Mr. 
George I. Seney and presented to the Metropolitan Museum of 
Art, among the treasures of whose galleries it is preserved, under 


84 


THE SENEY COLLECTION, 


the title ‘‘ The Mystery of Life,” a new and sublimer signifi- 
cance being given to it by the removal of the original legend into 
the realm of allegory. Some years later, at the American Art 
Galleries, was shown a picture of girls gossiping in a modern 
Dutch interior, which would, doubtless, have carried off the prize 
of the Exhibition had not Mr. Seney purchased it to send it also 
to the Metropolitan Museum. The arts of the painter of ‘‘ The 
Mystery of Life” and of ‘‘ Gossip” are very wide apart in feeling, 
but both works are the production of the same hands. Carl Marr 
is a native of Milwaukee, who at Munich, as a pupil of the Acad- 
emy and especially of Professor Dietz, laid the foundation of his 
artistic future. The influences cf German art and thought in- 
clined him naturally to that allegorical mysticism and tragic sen- 
timent which are exemplified in his ‘‘ Mystery of Life.” The 
trend of taste in Bavarian art, however, finally sent him to Hol: 
land, where his second style, as illustrated by ‘‘ Gossip,” found 
its origin, and where he really set foot upon his destined path. 
What Munich began in the scholastic and limited arena of the ~ 
school and the studio, nature ended by opening to the gifted 
young artist the whole world, full of subjects and ideas con- 
stantly renewed and refreshed, and meeting by sympathy his 
own true ideals, Light, air, and the joyous brightness of actual 
existence took with him the place of a brooding shadowiness of 
contemplation, and while giving its proper direction to his art, 
gave to the artist his place of fixed eminence among the painters 
of his school and time. 

PAGE 


No. 107 Sunday Morning : : 2 . ibs Ire 


MAUVE (ANTON) . 2 ‘ ; A Deceased. 


At the Centennial Exposition in Philadelphia, a picture which 
made its mark in the exhibit from the Netherlands was called 
_‘ Hauling up the Fishing-Boat.” It was one of those sincere 
and simple efforts at the transcription of nature in which Dutch 
art is supreme. The painter was Anton Mauve, a man no 
longer in the flower of youth, but of an energetic nature and a 


INDEX AND BIOGRAPHICAL NOTES. 85 


fresh and spirited style. He was a native of Zaandam, and 
had been a pupil of P. F. Van Os, but evidently owed most of 
his art to himself and to the foundation of all art—that uni- 
versal mother, at whose breast genius is nourished with a vital- _ 
ity that perennially renews itself. Among the earlier pictures of 
Mauve one may discover traces of his master, in a painstaking 
finish, a sleek and smooth execution, and a tendency to pleasant 
color without fibre or strength. When he freed himself and 
went forth to his studies in the fields, his manner changed as if 
within a day. Breadth of execution, simplicity of material, a 
close observation of the variations of nature, characterized it. 
The student, having learned the substantial processes of paint- 
ing, became the artist, susceptible to the fleeting impressions of 
the scene, swift to grasp and strong to execute them. Always 
well sustained by the Dutch collectors, he was also the recipient 
of universal European honors. His pictures received the med-° 
als of the Salon, and found their place in the great collections 
of Europe and America. His death, in 1888, was lamented as 
a loss to the art of the world as well as to that of his native 
Holland. In water-color painting, as in oil, Mauve enjoyed 
distinguished eminence, and his later subjects, in both media, 
were extracted from the rural life of Holland and largely from 
its pastoral side, its cattle pastures and sheep walks providing 
him with his happiest material. 


PAGE 
No. 38 Winter . : ‘ ‘ , . 148 
No. 62 Carting the Log é d ; i . 160 
No. 120 Home tothe Fold . : ‘ ‘ 2494 
No. 1338 Evening Twilight . : ba 200 
No. 291 Crépuscle , : : : : . 203 
MAX (GABRIEL) ; : : : : ‘ Munich. 


The son of a sculptor, Joseph Max by name, Gabriel Max’s 
art life began in the studio of his father, whom he served as an 
assistant, until his death in 1855. The boy, then fifteen years 


86 


No. 
No. 


THE SENEY COLLECTION. 


of age, had already given tokens of an ability of the first order 
at the plastic art, when the removal of parental control left 
him free to turn his attention to painting, for which he had 
always had an overwhelming love. He promptly abandoned 
the chisel and the clay tubs, and until 1858 was a diligent 
student at the academy of his native city, Prague. Next to paint- 
ing, music was the worship of young Max’s soul, and his earli- 
est original productions werea series of India-ink drawings, illus- 
trating, or, rather, expressing, the fundamental ideas of works 
of Beethoven, Mendelssohn, and the other tonal masters, which 
gave him an extensive reputation as an inventive and sympa- 
thetic artist. In 1863 he became a pupil of Piloty, at Munich, 
and like all of the great pupils of this remarkable master, 
gained from him the essence of a lofty art without becoming an 
imitator. His picture of a beautiful Christian martyr on the 
cross, at whose feet a passing Roman youth sacrifices his crown 
of roses, made a strong mark for him at its exhibition in 1865, 
and rendered it possible for him. to establish himself indepen- 
dent of his master. In 1867 Max opened his studio in Munich, 
and a few years later was admitted to a professorship at the 
Academy. He continued to produce works in line with his first 
notable compositions, works characterized by a subdued har- 
mony of color, and a rare sentiment and noble pathos, in whose 
simple purity of design and firm delicacy of form the critical 
eye could trace the influence of his earlier lessons as a sculptor. 
Without essaying the grand style in his subjects and creating 
imposing historical compositions, he gave to his poetical and 
tender realizations of great human episodes of history a gran- 
deur entirely their own, the grandeur of heroic sacrifice and 
human pain. His fame passed early beyond his native border. 
All Europe concurred in honoring him with medals and diplomas, 
and in giving to his art a place in the leading rank of modern 
productiveness, and among the great public and private collec- 
tions of both continents he now finds almost universal acceptance. 

PAGE 


3 A Suabian Girl , : Panis 
202 St. Theresa : : ; : 238 


—, Te 


INDEX AND BIOGRAPHICAL NOTES. 87 


MEISSONIER (JEAN LOUIS ERNEST) : Paris. 


It is an indication of artistic eminence that it creates schisms in 
_ the councils of art. The bitterest battles of criticism and pro- 
fessional opinion are fought over the greatest geniuses. It will 
not be until posterity has passed upon him that the greatness of 
Meissonier will receive its permanent establishment. Mean- 
while, still alive and productive after seventy-five years of busy 
existence, he occupies the place of first prominence among living 
artists. In all the splendor of a fame that a crowned and 
anointed king might well envy, he can look back over a career 
that must sometimes be a wonder to himself. How full it must 
be of those bleak days when he drew on the wood-block, for the 
price of a dinner, illustrations whose proofs are now the print 
collector’s prizes; of the days when he vainly peddled, from 
dealer to dealer, paintings which are now received with cheers in 
auction rooms, and which form the objects of contention among 
millionnaires. Fifty years have passed since this master of the 
century received his first Salon medal. The splendor of a 
magnificent triumph now crowns him with imperishable laurels. 
There is no corner of the civilized world into which his fame 
has not penetrated, and it is to be recorded in his honor that he, 
least of all his family, has been exalted by it. The proudest 
ornament that he wears on his black coat on the afternoon 
promenade, that coat which he might cuirass with the most cov- 
eted medals out of his cabinets, and still leave the cabinets full, 
is a fragment of red ribbon that was handed to him in 1846. It 
is told of the bluff little man with the flowing beard that, as he 
stands among the crowd at the Boulevard curb, watching the 
troops go by upon parade, as he is fond of doing, the officers 
salute him with their swords and the men with a movement of 
their muskets. The great Napoleon, whose blood-written glories 
he has made immortal with his brush, perhaps received no prouder 
homage, and certainly deserved no homage more. 


PAGE 


No. 199 Bowl Players in the Fosse at Antibes n2a20 
No. 275 Deliberation. , : ; : e294 


88 


THE SENEY COLLECTION. 


MICHEL (GEORGES) : ; : . Deceased, 


An extraordinary genius, whom it has required two generations 
of artistic education for the public to appreciate, was Georges 
Michel. He belonged to the men of 1830, but was not of them. 
In fact, he was at work in their field while they were still feel- 
ing their way with uncertain feet. Michel was a true child of 
Paris. He was born there in 1763, and never went farther from 
its roar than the hills and plains of Montmartre, till he died in 
1843. The foundation of his art is to be found in the Dutch 
master Van Goyen, whom he studied closely, and in whose style 
he painted, but with more strength and less delicacy. Michel. 
began his art life poor, and as a species of attaché of the haquse- 
hold of a nobleman who had a vanity to figure as a painter, and 
who signed the pictures he paid the easy-going young Parisian 
to execute for him. The connection was profitable to Michel, 
and when it ended he was able to set up a little curiosity shop 
for his son. The son dying, the father and his second wife 
continued the business. Daily at a certain hour they shut the 
shop up and travelled off to Montmartre, where the artist painted 
whatever subject struck him in his beloved district, which was 
then a comparative wilderness of scattered groves and quarry- 
tunnelled hills. He also worked at home, dashing down effects 
that came to him, and sometimes completing his out-door stud- 
ies. His early pictures display a certain richness of color and 
elaboration of detail, but in his later and finer style he simplified 
his system and produced those massive compositions, vast plains 
and solid hills, under skies quivering with exquisite grays and 
rolling with storm, through which he has become to his country 
what Constable was to England. Neglected by the public, ata 
period: when art generally enjoyed little favor, Michel in his 
latter years made no effort to dispose of his works, and a great 
accumulation of them was distributed after his death. Of a 
convivial and hearty nature, he laughed at the world which 
neglected him, left most of his pictures unsigned because, as he 
said, there was but one Michel and would not be another, and 
having sold out his shop, wound up his life in humble comfort, 


INDEX AND BIOGRAPHICAL NOTES. 89 


and died convinced of the immortality which, after nearly half a 
century, came tardily but justly to his memory. 


PAGE 

No. 2 The Ravine Road . : : i o5130 
POsmtt) 22 Old Oak... ; : . 190 
No, 212 Landscape ‘ : ‘ ; 3 $233 
MILLAIS (SIR JOHN EVERETT), R.A. . London. 


The distinguished position occupied by Sir J. E. Millais in con- 
temporaneous art in England is unimpaired by the changes of 


schools and styles which have occurred since he took his first 


lessons in drawing at Mr. Sass’s academy asa boy. He stands 
at the head of his guild now, as he stood at the head of his 
school half a century ago. Born in 1829, at Southampton, his 
early boyhood was spent in France and among the Channel 
Islands, where he already produced some quite remarkable 
sketches from nature. In 1838 he had acquired such proficiency 
under Mr. Sass that he won the Society of Arts’ silver medal 
for drawing from the antique, and in 1840 he entered the Royal 
Academy as a student, winning the silver medal there in 1843. 
His first exhibited picture, in 1846, was “‘ Pizarro Seizing the 
Incas,” and in 1847 he received the Academy gold medal for his 
‘‘Benjaminites Seizing the Daughters of Shiloh,” and a com- 
mission to assist in the decoration of the Houses of Parliament. 
Up to this time he had followed the accepted traditions of 
art, but association with Rossetti, Hunt, Woolner, and other 
progressive and congenial young spirits, led to the formation 
by them of the Pre-Raphaelite Brotherhood, which, in spite of 
its weaknesses and exaggerations, may be considered as having 
inspired English figure art with the allied spirits of realism and 
poetry. For some years Millais adhered closely to the severe 
artistic rules of the brotherhood, but as he grew stronger his 
genius burst its shackles one by one, until he had cast off all of 
Pre-Raphaelitism but what was best in it, and created that style 
of his own in which he is recognized as supreme. Made an 


gO 


THE SENEY COLLECTION. 


Associate of the Royal Academy in 1854,a Member in 1863, 
and a Baronet in 1885, enriched by an admiring nation both in 
honors and in substantial wealth, he found almost equal recogni- 
tion abroad, especially in France, where he is an Officer of the 
Legion of Honor and a Member of the Institute, as well as a 
Medalist of Honor, Equally powerful in portraiture, composi- 
tions and landscape, Millais is as well one of the most versatile 
and productive of the many great artists of our time whose 
pencils have been employed in elevating illustrated literature to 
the level of high art it has attained. 


PAGE 
No. 267 Zhe Love-bird . : 3 : ; . 269 
MILLET (FRANCIS D.), N.A. . ©. 2) New York. 


The same school which at a little earlier date produced L. Alma- 


- Tadema, developed in F. D, Millet an artist who has given to 


the art of this country much the same classical impetus that the 
eminent pupil of Baron Leys gave to that of England. Mr. 
Millet was born at Mattapoisett, Mass., in 1846, and as a stu- 
dent at the Royal Academy of Antwerp, under Van Lerius and 
De Keyser, gained his silver and gold medals in 1872 and 1873. 
It is out of an eclectic study of modern European art, however, 
that he has formed his own. An active and logical mind, keen 
observation, and a well-schooled hand have had more to do with 
his progress than the lessons of his early masters. His first suc- 
cesses were gained in portraiture, and he followed them with a 
series of classical and genre subjects which displayed not only 
his strength of technique, but the thoughtful and creative spirit 
of the student, and the philosopher wise in the ways of the world. 
His pictures found acceptance by critics and connoisseurs abroad 
as at home, and he enjoys to-day the almost unique distinction 
among American artists of honor and reward on both continents. 
Since he served as the American Art Juror at the Paris Exposi- 
tion of 1878, he has been conspicuously active in all movements 
calculated to advance the interests of our art, and has done much 
to promote the ends in view. Mr. Millet became an Associate 


INDEX AND BIOGRAPHICAL NOTES. gl 


of the National Academy of Design in 1882, and an Academi- 
cian in 1885, and independent of his artistic labors, has per- 
formed notable service as a war correspondent in Europe, and 
as a writer for the leading periodicals of the United States and 
England on artistic and other topics of current and permanent 
interest. 


PAGE 
No. 45 - Zhe Lotlet : ; : arts 
No. 137. Zhe Flower Girl ; . ; . 200 
No. 220 Conjidences : : 4 ; ; mo 42 
MILLET (JEAN FRANCOIS) hepa . Deceased. 


The most heroic presence in modern French art, a presence 
sanctified by a life of struggle and the grandeur of an over- 
powering genius, is that of Millet. A peasant boy, proud of 
the soil that bore him and of the people to whose ranks he 
belonged, he gave to them the better part of his life and the 
best of his art. Born in 1814, he began art as a student under 
a provincial master, continued it in Paris under Delaroche and 
at the Louvre, and finally, rejecting the accepted and popular 
conventions and fashions, opened up a new world after a man- 
ner entirely original and altogether part of himself. He was 
earning a scanty living painting signs and portraits and making 
designs, when, in 1840, he sent to the Salon his first picture—a 


portrait of his friend Marolle. Absolute and grinding poverty 


constantly oppressed him, but he was rich in the esteem of some 
of the most distinguished of his artistic brethren, who perceived 
in him a genius superior to adverse fate. The accident of the 
revolution of 1848 and the cholera gave his art the direction for 
which it was destined. In company with Charles Jacque, in 
1849, Millet left Paris, then in the double shadow of political 
troubles and pestilence, and sought refuge in the calm retire- 
ment of the Forest of Fontainebleau. At Barbizon, one of the 
villages of the district, he made his home. Here, amid rustic 
scenes that recalled his boyhood, he fought his battle of life and 
won the great victories of his art. He had as associates the 


Q2 THE SENEY COLLECTION. 


fellow-revolutionists of French art. Rousseau, Jacque, and 
Decamps were his neighbors. Diaz, Daubigny, and Dupre were 
his visitors and his friends. The story of his poverty and his 
trials has become old by much recapitulation, but in his simple 
way of life and his complete devotion to his art, he survived 
adversity that would have broken a less resolute and earnest 
man. Among his first patrons were Americans, and among his 
staunchest admirers were American art students ;, but honors 
came slowly to him from his own people. In 1853 he received 
a second-class medal, and in 1864 one of the first class. Now 
fortune began to show him a kindlier face. Appreciation of his 
pictures grew. In 1868 he received the Legion of Honor, and 
when he died in 1875 he was enjoying a comfortable popularity, 
though he was by no means wealthy. The sale of his ‘‘Angelus,” 
in 1889, to the American Art Association, crowned the romance 
of his career of vicissitudes and trials, and marked the fact that 
his place at the head of his art was finally conceded to him. 
This masterpiece has, after successful exhibition throughout the 
United States and Canada, been recently sold by the owners to 
M. Chanchard, of Paris, and is now a part of that amateur’s 
magnificent collection. 


<< i 
SE nee, ea 


PAGE 
No. 236 Zhe Apple Harvest . 2 ; ; WEEE & 
No. 296 Waiting . ; : ‘ ; . . 286 


MUNKACSY (MIHALY) MPMI Hina Sig ey ene 


In 1846 the rude village of Munkacs, in Hungary, was the 
birth-place of a child of poverty who was christened Michael 
Lieb. He had no future but one of misery, such as had pre- 
ceded him in the experience of his progenitors, and he com- 
menced, almost as soon as he could handle a tool, to earn 
his meagre living as a carpenter’s apprentice. For six years he 
worked at the bench, with an occasional job of house-painting 
to vary the monotony of his labor. From this casual employ- 
ment he found his way to his future. He taught himself to 
draw, and, in a crude way, to paint. Then a good-natured, poor 


INDEX AND BIOGRAPHICAL NOTES. 93 


a See 


portrait painter of Guyla took him up and taught him a little 
more. From this vagabond master he passed into the hands of 
the Vienna Academy, and, by a supreme effort, finally secured 
admission into the Munich Ecole des Beaux Arts, where Pro- 
fessor Adam became his friend and instructor. Here the young 
artist, who was known as Michael of Munkacs, which title he 
has since adopted as his name, Michael Munkacsy, made such 
strides in advance that he was enabled, by the winning of sev- 
eral prizes, to set himself up at Diisseldorf in 1869, as a painter. 
The works of Knaus and Vautier inclined him to genre paint- 
ing, and in 1869 his ‘‘ Last Day of a Condemned Man” made 
him famous. His style was so original and so unlike the con- 
ventional methods of German art that it attracted attention in 
Paris, and in 1872 he was emboldened to settle in that city, where 
he has since resided and where his works have found much 
favor. He had received a medal at the Salon in 1870, and so 
was not unknown there. In 1877 he was received into the 
Legion of Honor, of which he has been an Officer since 1878. 
Munich and Vienna have made him a member of their Acad- 
emies, and the whole world in which art finds patronage has 
accepted him. His ‘‘ Christ Before Pilate” and his ‘‘ Calvary,” 
after making the tour of Europe on exhibition, were brought to 
America and purchased, after a wide display, by the present 
Postmaster-General of the United States. During the exhibi- 
tion of the former work in this city in 1886, Munkacsy visited 
this country and painted some portraits, receiving, personally, a 
cordial reception, well won by his pleasant personal and his 
interesting mental traits. His case is an illustration of the tri- 
umph of artistic genius over apparently insurmountable difficul- 
ties almost unique in the history of modern art. 

, PAGE 


Sethe Dreamer. : ; ‘ : . 168 


MURPHY (J. FRANCIS), N.A._. 3 ‘ New York. 


A little landscape, executed in a fine harmony of color and with 
great delicacy of feeling, drew a limited amount of notice, at the 


94 


THE SENEY COLLECTION. 


National Academy Exhibition of 1876, to a young artist whose 
name was new to the catalogues. The few who took the trou- 
ble to inquire after him, found that he was a native of Oswego, 
N. Y., some three and twenty years of age, and a pupil of no 
school save that of nature. The predictions aroused by his 
first exhibit were confirmed by his successive productions, and 
in 1885 he was admitted to an Associateship of the Academy, 
from which he was advanced, in 1887, to the degree of a full 
Academician. Absolutely devoted to the study of nature, Mr. 
Murphy has created for himself a manner which individualizes him 
among the chief American painters of landscape. His sense of 
color, his appreciation of the harmonies, his feeling for the pict- 
uresque, and his vigorous draughtsmanship and resolute execu- 


_ tion have gained for his pictures the recognition that can be 
| denied to no work of power. Mr. Murphy, after having battled 


his way to acceptance in his own country, visited Europe for 
the first time a couple of years since, and painted some pictures 
in England and on the Continent. With the exception of these, 


his productions have been thoroughly national in character, and 


have added materially to the pictorial record of American land- 
scape. In 1885 Mr. Murphy was awarded the second Hall- 
garten Prize ($200) at the National Academy of Design, and in ~ 
1887 he received the prize of $300 founded by Dr. W. Seward 
Webb for the Society of American Artists, of which Mr. Murphy 
is an active and prominent member. He has been awarded a 
gold prize medal by the American Art Association of New 
York, and was made a member of the National Academy of 
Design in 1887. 


PAGE 


No. 207 Autumn . : : ; : : ) 236 


NEUHUYS (ALBERT). : . : ‘ Amsterdam. 


The remarkable revival in the art of the Netherlands which has 
marked the second half of the current century, has brought to 
the front a number of talents in which one sees repeated, with 


INDEX AND BIOGRAPHICAL NOTES. 95 


——— ey 


some degree of modern refinement, the spirit of the older mas- 
ters which made the Netherlandish schools of the past immortal. 
- The modern men, like the older masters, go to nature for their 
inspiration, and find in the humble and commonplace life about 
them material for their brushes which the verdict of the world 
has endorsed as good. One of the younger geuve painters of 
the Low Countries who has achieved deserved distinction is 
Albert Neuhuys. He is a native of Utrecht, where he was born 
in June, 1844. His studies began in the Antwerp Academy, 
and led him later into the studio of G. Craeyvanger, a more 
noteworthy teacher than painter. But Neuhuys acquired his 
most efficient lessons from the school of nature, as his pictures 
show. His subjects, treating of familiar life with technical 
skill and personal sympathy, belong with those of Israels, 
Mauve, Artz, and those other leaders of modern art in the 
Netherlands who have done for the Dutch and Flemish peas- 
antry what Millet did and Breton is doing for those of France. 


PAGE 


No. 73 JLndustry . 2 : ‘ ai nach . 166 


DE NEUVILLE (ALPHONSE MARIE) , Deceased. 


That France accepted the death of De Neuville, in 1885, asa 
national misfortune was the most splendid tribute that could be 
paid to the artist and the man. MHis whole life had been a 
romance. Out of his love of art he had surrendered, at its 
beginning, the material advantages of the career for which his 
family had destined him. At its end, upon his bed of death, he 
gave to the faithful woman who for a quarter of a century had 
been his wife in all but the name, the title which was her due. 
Palsied and not even over-clear of brain, racked and convulsed 
by cruel agonies, flashes of a fine soul still illumined his sombre 
and gloomy departure from the world. It is said that he thought 
himself once more on fields of battle, and imagined, in his last 
hours, the reality of the pictures in which he had made his coun- 
try’s heroism immortal. Before his fading sight floated the 


THE SENEY COLLECTION. 


a 


smoke of Magenta ; in his dull ears roared the cannon of Buzen- 
ville; he heard, in the echoing chambers of his memory, the 
cracking fusillade of Le Bourget, and the shouts of victory in 
the guttural German tongue, when the church door fell in and 
a few heroes, dripping blood themselves, brought out to the 
army it had required to conquer him, their dying commander ~ 
helpless in the chair from which he had issued his last com- 
mands. Born at St. Omer in 1836, De Neuville had in less 
than fifty years of life created a new military art for France. 
No man has made so much out of the dramatic incidents of 
great warsashe. The tragic episodes of battle, the individual 
events of the campaign, were his themes, for the human appeal 
they made to him was repeated by him on the canvas. Where 
Detaille, his great successor, is a thorough realist, De Neuville 
always remained with a vein in him of that poetry which ele- 
vates the artist above mere materialism. You see war in all its 
disciplined splendor in Detaille. In De Neuville you hear also 
the distant grumble of the cannonade, the shriek of the bullet, 
and the shrill whistle of the descending steel, and through the 
infernal chorus the wailing cries of bereavement that the dead 
man on the battle-field cannot, happily for himself, distinguish 
in the eternal silence into which he has passed. De Neuville 
received his first medal in 1859, and was an Officer of the Legion 
of Honor when he died. 


PAGE 


No. 159 Bulleted on the Enemy : : ; ait 
No. 211 Zhe Outpost . ; i : 2238 


NICOL (ERSKINE), R.A. .- : A : : London. 


A house-painter’s apprentice of Edinburgh one day, some sixty 
years since, applied to the Trustees Academy of that city for 
admission to the art school as a student. The drawings he 
exhibited commanded consideration for him, and thus Erskine 
Nicol commenced one of the most successful careers in the chroni- 
cles of English art. From his house-painter’s labors of the day 


INDEX AND BIOGRAPHICAL NOTES. 97 


he subsisted until he had become a sufficiently accomplished 
draughtsman to undertake an engagement as drawing master at 
the high-school of Leith, in which town he was born in 182s. 
From Leith he went to Dublin, where he earned his living as a 
drawing master, and continued his studies, later returning to 
Edinburgh, and finally, in 1863, settling in London, where he now 
resides. Previous to his removal to London he had been made a 
member of the Royal Scottish Academy. In 1866 he became an 
Associate of the Royal Academy of London, and in due time a 
full Academician. Devoted to genre subjects, Mr. Nicol has in 
them produced a long series of superb studies of life and character 
in his native Scotland and in Ireland, where, during his sojourn 
and from subsequent visits, he amassed a rich store of material. 
As a-colorist he has no superior in England. As 4 delineator 
of character he has no equal in his native art. A shrewd, dry 
humor expresses itself in his works, and a broad and genial 
sympathy with humanity lends them heartiness. Although 
known throughout the world by engravings from his pictures, 
Mr. Nicol’s paintings are of unusual and infrequent appearance 
in collections outside the insular limits of Great Britain, where 
they find an invariable acceptance. He has exhibited, generally 
through the generosity of collectors owning his works, at the 
National Academy of Design in this city, at the Centennial 
Exposition in Philadelphia, and at a few American loan exhibi- 
tions, and has been medalled at the Salon and other Continental 
art displays. 


PAGE 

No. 7/4 Mental Arithmetic . : ee 167 
No. 154 Patience is a Virtue ; : P20 
No. 226 Always Teli the Truth : é 245 
PEeSMCALGERTO) -. ... ., .°. . Paris 


In the Chevalier Alberto Pasini we have an Italian who paints 
the Orient as a Turk might who was born to its spirit and 
nourishéd on its air. A native of Busseto, near Parma, he 


7 


98 THE SENEY COLLECTION. 


enjoyed the instructions of three great masters. From Ciceri 
he acquired his firm draughtsmanship, from Isabey his color, 
and bold and fluent execution of the brush, and from Rousseau 
the deeper feeling and sentiment of that master of landscape. 


The influence of Isabey is exercised at its happiest in Pasini’s _ 


pictures in those exquisite groups of figures with which they 
are enlivened, and which give to landscapes, in themselves of a 
masterly style, the additional interest of gezve compositions. A 
fortunate chance sent Pasini to the East at the commencement 
of his independent artistic career, and in several years’ residence 
in Turkey, Arabia, and Persia, he accumulated the experience 
and the material upon which his most successful art is based. 
« No man of our time succeeds like him in realizing upon canvas 
the life and spirit of the Orient, its splendor of color, brilliancy 
of burning light, and barbaric sumptuousness of gorgeous 
pageantry. His color is strong, bright, and true, his grasp of 
form and character vigorous, and his touch has the certainty of 
. a well-schooled hand, directed by an observant eye. His treat- 
ment is broad, although not negligent of detail; the light effects 
of his pictures are often peculiar but always striking, and in his 
command of aerial perspective he is particularly fine. He sees 
and presents to us the real life of the Orient from an artistic 
' standpoint, leaving its natural poetry to speak for itself through 
the truthfulness of his delineations. He is an Honorary Pro- 
fessor of the Academies of Parma and of Turin, a medallist of 


all the great exhibitions, and since 1878 an Officer of the Legion . 


of Honor, into which order he was received in 1868,' 


No. 7 A Constantinople Market , j : < $3 


No 119 The Anace : j : ae fot 
No. 219 The Falconers . ’ : ; 2242 
VON PETTENKOFEN (AUGUST) . } ; Vienna. 


Beginning life as a soldier, Pettenkofen is concluding it as one 
of the leaders in Austrian art. He was born at Vienna in 1821, 


INDEX AND BIOGRAPHICAL NOTES. 99 


and entered the army, where he saw some years of service. His 
first studies of military life, which he afterward utilized in his 
paintings, were made at this period. Whatever instruction he 
may have had in art was casual and irregular. It is certain that 
he taught himself to paint, and to this is to be ascribed his 
minute and somewhat timid and labored style of the commence- 
ment of his artistic career. With experience came confidence, 
however, and by 1860 he enjoyed in Austria a reputation almost 
akin to that of Meissonier in Paris. He found his subjects 
among the soldiery and peasantry of the empire, and painted 
cabinet pieces of exquisite delicacy of execution, picturesque- 
ness of composition, and variety of characterization. Painting 
life as he felt as well as saw it, he gave to his least significant 
works a poetic trait, and as a colorist he ranked among the 
first of Germany. He was made a member of the Vienna 
Academy in 1866, of the Munich Academy in 1867, a Knight 
in 1876, and a professor at the Vienna Academy in 1880. His 
works are not common in America, since the demand for them 
in European collections leaves little opportunity for them to find 
a foreign outlet, but the comparatively few that came to this 
country are of a quality to confirm here the reputation that 
the artist enjoys at home, of being one of the foremost and 
greatest figures that the art of Austria has known. 


PAGE 


No. 17 The Return from the Fields ; ers 


PICKNELL (WILLIAM L.) : ; ; Boston 


The criticism of France, England, and America has united 
with an unusual unanimity in endorsing the art of William L. 
Picknell, and from the time when his ‘‘ Road to Concarneau” 
introduced him to New York at the American Art Galleries, he 
has been an important personality in our art. Born in Boston 
in 1853, he became a pupil, at Rome, of George Inness. Dur-. 
ing two years of that artist’s sojourn in Italy, Picknell remained 
in his studio. Thence he passed over to Paris, to study the 


100 — THE SENEY COLLECTION. 


figure under Gérdme, from whose studio he went into Brittany 
to become one of the colony of painters and students presided 
over there by Robert Wylie. His first exhibit at the Salon was 
made during this period, and in 1880 his ‘‘ Road to Concar- 
neau ” won him an honorable mention. In London as in Paris 
his pictures scored a success which was repeated upon his return 
to America in 1882. <A distinguishing quality of his work is his 
hold on local color, thanks to which the character of his 
scenery is always accurately expressed. His French landscapes 
are as thoroughly French as his American landscapes are Amer- 
ican, while his own frank, decided, and broad style of execution 
remains individual. While devoting himself largely to marine 
and landscape subjects, Mr. Picknell is also an accomplished 
and forcible painter of the figure; and some of his pictures in 
which the two are combined do double honor to his versatility 
and his sound artistic training. In the treatment of purely — 
natural subjects, however, his strong and true color, his vigor- 
ous touch, and the quality of vibrating light and atmosphere 
which he commands, have justly commanded for him the widest 
attention, and the greatest admiration and respect. 


No. 184 WVovember ¢ : : : i aes 
POKITANOW (IVAN) . : ; , ; ; Paris. 


One of the most interesting personages in the development of 
Russian art which is part of the history of our time, is the 
landscape painter Pokitanow. He was born at Odessa, and 
left largely to himself, as indeed were most of his brethren of 
the time, for his artistic development. His first hints at prac- 
tice were derived from a few old German prints in the posses- 
sion of his family, and he commenced to draw from nature on 
the plan laid down by Diirer and Holbein, minutely accurate, 
laboriously painstaking, and analyzing detail as a botanist would. 
In later years, when his expanding talent and intelligence lifted 
him out of the rut of petty observation into which he had wan- 


INDEX AND BIOGRAPHICAL NOTES. 101 


‘dered on untutored feet, a reminiscence of his original studies 
still remained with him-in a love of fine finish and careful draw- 
ing ona small scale which have won for him the sobriquet of 
‘*the Meissonier of Russian landscape.” Among sympathetic 
collectors his charming little pictures of Russian nature made 
him many friends, and he was not long in securing for himself 
a place of permanent honor in his national art. Odessa, Mos- 
cow, and St. Petersburg loaded him with medals and with pat- 
ronage, and when, as all good Russians with artistic gifts even- 
tually do, he wandered to Paris, he found even greater favor 
there. He still maintains his studio on the banks of the Seine, 
although with each recurring season he seeks upon the steppes 
and among the grain fields and farms where he was born the 
subjects which his delicate brush preserves so brilliantly. 


PAGE 


Pan Dne Hunter —. . ; : ures 


QUADRONE (GIOVANNI BATTISTA) . . Turin. 


It is one of the attestations of the impression made by Meis- 
sonier that in every European state there is some painter of 
detail pictures who by the exceptional excellence of his work is 
dignified with the sobriquet of the great Frenchman. In Italy 
it is Quadrone who has received this popular re-baptism. ‘* The 
Italian Meissonier” is by no means an improperly conferred 
title in his case. He is certainly a master in his walk of art, of 
rare and perfect strength. Quadrone is a Piedmontese, born in 
1844 at Mondovi. Gamba and Gaetano Ferri were his first 
masters at the Turin Academy, and after having swept all the 
native prizes available, he went, in 1868, to Paris, to study 
under Bonnat and Géréme. After two years of Parisian polish- 
ing he returned to Italy, where he has since resided. While 
devoted to detail and exceedingly elaborate in his methods of 
execution, the Italian spirit reveals-itself in him through an 
invariable selection of a point to his subjects. He always has a 
little story to tell, as well as his models and types to paint. A- 


102 ; THE SENEY COLLECTION. 


touch of humor and of light satire animates his pictures, and 
lends them an interest independent of their artistic merits. Like 
all Italians, he is a shrewd judge of character, and this trait 
finds constant reflection in his works. 


PAGE 


No. 85 lu from the Cold. ; } : ET2 


RENOUF (EMILE) ie! eae Paris. 


It is a curious illustration of how little an original mind is con- 
trolled even by the strongest influences that Emile Renouf, a 
pupil of three figure painters, Boulanger, Lefebvre, and Carolus- 
Duran, is ranked among the leading marine, landscape, and 
genre painters of France. Only in his portraits does he display 
any suggestion of his school, and in them the reminder of 
Duran is very slight indeed. Except in good draughtsmanship, 
Lefebvre and Boulanger have left no impress on his art. Re- 
nouf was born in Paris in 1845. His earlier exhibits in the 
Salon, commencing in 1870, were marine subjects full of airi- 
ness and the sentiment of the sea. His first great success came 
to him at the Salon, with ‘‘ The Helping Hand,” which formed 
one of the centres of attraction in Mr. Seney’s collection, six 
years since. In this beautiful and touching composition, a 
little fisher’s child tugging with her baby hands at the ponder- 
ous oar to aid her grandfather, the artist produced an idyll of 
the peaceful sea that appealed to every heart. He has painted 
it in other moods as well, with its billows roaring in wrath, and 
strong men buffeting them in vain, and he is at his best in those 
compositions in which man and the ocean are brought together. 
A couple of years ago the artist visited this country, and exe- 
cuted a number of commissions for portraits and other works 
which were highly successful. The close observation and 
analytical intelligence displayed in all his works enabled him to 
readily adapt himself to strange surroundings and seize upon 
the spirit of scenes and people strange to him before witha 


INDEX AND BIOGRAPHICAL NOTES. 103 


ready grasp. Renouf has taken medals of the second class in 
Paris, 1880; of the first class at Munich, 1883 ; and at succeed- 
ing exhibitions, and is personally highly esteemed for his ster- 
ling integrity of principle and serious devotion to his art. 


PAGE 
No. 98 Sotsting the Night Signal : ; . 179 
RICO (MARTIN) 4 : : : ; : : Paris. 


Rico is a Spaniard by birth, but of almost entirely original de- 
velopment. He was born in Madrid, and taught to draw by a 
good-hearted cavalry captain who practised art, after a fashion, 
as an amateur. From the trooper’s hands he passed to the 
Madrid Academy, and he made his living as he advanced by 
drawing and engraving on wood during his hours of leisure. 
On the small savings of this labor he would wander off on foot 
during the summer, studying from nature, living among the 
gipsies and the herdsmen out of doors, quite as often hungry 
as well fed, and at the end of the season almost compelled to 
beg his way back to Madrid. As a result of his unremitting 
industry, he, in 1862, secured the first Prix de Rome ever given 
at Madrid for landscape. The four years’ pension involved by 
the prize may be used by the winner either at Rome or Paris. 
Rico went to Paris. His amiable compatriot, Zamacois, took 
him in hand, Meissonier and Daubigny advised him. For four 
years he studied nature, and then, when his period of pension-_ 
ate had expired, he found a patron and fortune. The patron 
was the father of Jules L. Stewart, the painter. Mr. Stewart 
is one of the most enlightened and generous collectors of mod- 
ern times, and from the time he discovered the young Spaniard 
he sustained him with encouragement, and advanced him with 
other amateurs, until his works were in a demand that required 
no further nursing. In water color, as in oil, his brilliant and 
animated style commanded praise and popularity, and he was 
enabled to seek in Spain and Italy, and even in the Orient, for 


104 THE SENEY COLLECTION.: 


subjects. In 1878 Rico was medalled at the Salon and endowed 
with the Cross of the Legion of Honor. Even in the splendor 
of his prosperity, he has not lost the simple habits of his pinched 
and needy boyhood, and it has been remarked of him that with 
his guitar and a bundle of cigarettes he could make a journey 
round the world. . 


PAGE 


No. 36 Zhe Banks of the Adige . : . 147 


ROQUEPLAN (JOSEPH ETIENNE CAMILLE), Deceased 


Roqueplan, or Rocoplan, as he was sometimes called, was one 
of the men of 1830 who carried French art out to nature. He 
was born at Mallemart, at the mouth of the Rhéne, in 1800, and 
died in Paris in 1855. He first painted under Abel de Pujol, 
and later under Gros, and his works include: gezve, landscape, 
and marine subjects. As early as 1824 his talent was recognized 
by a Salon medal, and in 1831 he was admitted into the Legion 
of Honor. The enlightened and liberal Duc d’Orleans was one 
of his first patrons. At the sale of the duke’s collection after 
his tragic death, Roqueplan’s picture of ‘‘ The Antiquary ” sold 
for the then enormous sum of 30,000 francs. Roqueplan was 
one of the splendid corps of artists employed by the state in the 
decoration of the Luxembourg, and the national collections of 
France are rich in his works. In his landscapes and marines he 
produced charming effects of light and color, and among his 
genre subjects are some veritable gems. In the greater fame of 
the Barbizon painters, his genius has been treated with un- 
merited neglect, but the immutable justice of time is again 
bringing before the public his claims as a great and sincere 
artist, and an original and industrious reformer in the higher 
walks of his art. 


NO: 2050 At he otler eae , ; : ; ar 5% 


INDEX AND BIOGRAPHICAL NOTES. 105 


ROUSSEAU (THEOD. PIERRE ETIENNE) . Deceased. 


The career of Rousseau was analogous to that of Millet in its 
protracted and painful struggle. Born at Paris in 1812, poor, 
sensitive, and of the highest nervous organization, the young 
artist began with the exhibition of the Salon of 1826 his long 
life of original effort beset by trouble and despair. He was 
from the first a naturalist, and suffered repeated rejection, and 
even insult, at the hands of Salon juries, controlled by disciples 
of the classical school, to which his art was a perpetual challenge 
and defiance. He was one of the first men of his time to settle 
the now famous artistic colony at Barbizon, and with Corot, 
Daubigny, Diaz, and Dupré, stands as an associate founder of 
the modern school of French landscape painting. His art was 
an art of deep feeling, and more than any of his colleagues did 
he possess the power of lending to landscape a strong dramatic 
quality. In effects of atmosphere and light he excelled, and 
as a colorist he stood supreme. Rousseau and Millet were 
neighbors at Barbizon and close friends, and when poverty 
pressed the latter hardest, it is recorded of the former that he 
found out of his own need something to spare for his less 
fortunate associate. A touching romance is associated with 
Rousseau’s life. His wife was subject to a mental affliction 
which would have justified her seclusion in an institution, but in 
his deep devotion to her her husband refused to put her away 
from him, and during all his life suffered the torment of con- 
tinual nervous strain from her irresponsible violences. By a 
mockery of fate, he died before her, in a condition of mental 
- decay similar to but more deadly than hers, and which preluded 
his end with months of anguish. His death occurred in 1867. 
A pupil of Lethicre and Remond, Rousseau really, however, 
owed his artistic development to his study of nature. He 
received his first third-class medal at the Salon of 1834, medals 
of the first class in 1849 and 1855, and a Medal of Honor the year 
of his death. He was made a member of the Legion of Honor 
in 1852. In 1867, his failure to secure an Officership of the 
Legion, which was largely due to intrigue on the part of his 


106 THE SENEY COLLECTION, 


enemies, proved a severe blow to him, and undoubtedly bore a 
share in accelerating the advent of the malady which carried 
him off, 


PAGE 
No. *?5° “The Old Oak vee”, : : ’ . 206 
No. 162 Evening . : : ; : aig 
No. 234 Autumn . ; : : ; . 250 
No. 259 Zhe Pasturage : : : ‘ . 265 
ROYBET (VICTOR LEON FERDINAND) . Paris. 


When, at the Salon of 1866, the ‘‘ Jester of Henry III.” won 
for its painter his first medal, France hailed in Roybet a new 
prophet in current art. The combination of a true feeling for 
color with vigorous expression of form and correct decorative 
instinct was then an uncommon quality in the studio. Roybet 
painted with a naturalistic power, yet with also a pictorial sym- 
pathy which did not permit of the doctrine of the realists that 
anything that could be painted was good enough to paint. He 
required that his subject should be as attractive as its rendition 
was accurate. His cavaliers and ladies, his groups and caval- 
cades, were not only picturesque in themselves and realized with 
remarkable vividness and vitality, but they were presented in 
picturesque incidents and surroundings. The painter is a 
native of Uzés, in the Garde, and was born in 1840. He had 
begun the study of art at the Ecole des Beaux Arts, at Lyons, 
and settled in Paris not long before his dédu¢ at the Salon. An 
immediate favor followed the warm critical reception of his first 
works, and he entered upon a career of success which years 
have only added to, and which has made his name familiar 
throughout the civilized world. To successive exhibitions he 
sent a splendid series of canvases, representing social and his- 
torical episodes of the past, in each of which his powers found 
stronger and ever stronger expression ; and in the art world 
itself, and in that of the art lovers whose collections his brush 


INDEX AND BIOGRAPHICAL NOTES. 107 


has enriched, he enjoys an esteem which is commensurate with 
his genius, at once so brilliant, original, and sincere. An exhi- 
bition of his collected works in Paris last year was the occasion 
_ of an enthusiasm which has been rarely aroused by any display 
in that city of the productions of a single hand. 


PAGE 


13 Dividing the Game . : p : mras 


No. '92 The Secret : : é ‘ ; EPG, 


SALA Y FRANCES (EMILIO) aa ee Madrid: 


One of the Spaniards who have aided so materially in the mod- 
ern revival of their national art is Emilio Sala _y Frances, more 
widely known simply as Emilio Sala. He is a native of Alcoy, 
Spain, and won his first medal at Madrid in 1871. Competent 
critics then already discovered in the enthusiastic youth one of 
those talents to which Spain looked so hopefully for her artistic 
regeneration. His first works were of a most ambitious order, 
treating of tragic and dramatic subjects in Spanish history. 
Between the composition of these the artist produced a number 
of genre subjects, drawn from native life, which were not long 
in securing favor. He has also painted some extremely effec- 
tive scenes of Moorish life, and produced portraits marked by a 
vivid personality, and a spirited and strong execution. Like all 
of his compatriots of the easel, he has an inclination to a real- 
istic rendition of his motifs, but always governed and guarded 
by the imaginative tendency which is part of the life-blood of the 
Spaniard in every line of creative productiveness. The marked 
originality of his style and the independence of his methods may 
be laid to the score of his being almost entirely self-taught, and 
so subject to none of the influences which might impair or 
weaken his individuality of expression. 


PAGE 


No. 92 The End of the Game. : : 76 


108 THE SENEY COLLECTION. | 


SALMSON (HUGO FREDERICK) : ; : Paris. 


At the commencement of the year 1860, Professor Voklund, 
who presided over the Academy of Fine Arts at Stockholm, 
pointed out to an artist who was visiting the school a modest- 
looking young man of sixteen or seventeen, who was painting in 
the life class from a nude model. He was working with the 
simplest palette, and only a couple of brushes, but his figure, 
for accuracy of form and color, was by far the best in the class. 
The professor, enthusiastic in the cause of his favorite pupil, 
predicted for him an artistic future of which his student work 
was an earnest. The youth whom he commended was Hugo 
Frederick Salmson, a native Swede of the city in which he 
began his study of his art. From the Stockholm Academy 
Salmson emerged with sufficient courage to establish himself in 
a modest studio, where he painted gezve pictures based on the 
history of his Fatherland. These had sufficient merit to pro- 
duce patronage for him, and in 1869 he was enabled to proceed 
to Paris, where, at the Ecole des Beaux Arts, and under Charles 
Compte, he still further improved his technical knowledge and 
his experience. In 1871 his progress secured for him the appre- 
ciation of his native city, in the form of his being elected a 
member of the Stockholm Academy, and in 1879 he achieved a 
second triumph in his Salon picture, representing an arrest in a 


village in Picardy, being purchased from the exhibition by the . 


government for the Luxembourg collection. While producing 
much in the line of elegant portraiture and subjects of a social 
order, Salmson has always remained: faithful to the humbler 
walks of life as well, and some of his strongest and most 
memorable canvases have for their characters and motifs the 
peasantry and their labors of the Northern land in which he was 
born. 


PAGE 
No. 72 Churning : ; ; : ; . 166 
No, 176 The Philosopher : : ; 2G 
No. 303 Coming from the Hay field : : . 29° 


‘- INDEX AND BIOGRAPHICAL NOTES. 109 


Bee ’SCHREVYER (ADOLPHE) . . . .... Paris, 


There is no suggestion of the German in the art of Schreyer, 
yet it was in that most German of cities, Frankfort-on-Main, 
that he was born in 1828. ‘Theophile Gautier, who admired his 
pictures to the verge of extravagance, once defined him as ‘‘a 
Teutonic accident.”” Schreyer was, however, fortunate in com- 
ing of a family of wealth and distinction, in consequence of which 
he was permitted from his youth an independence of move- 
ment and study which liberated him from the then restricted 
influence of his native art. He travelled much, and painted 
as he went. In 1855, when his friend, Prince Taxis, went into 
the Crimea, he accompanied the prince’s regiment, and at this 
period he began producing those battle scenes which gave him 
his first fame. Wanderings in Algiers and along the North 
African coasts into Asia Minor, resulted in those pictures of 
Arab life which are so popular, while visits to the estates of his 
family and his friends in Wallachia provided him with another 
of his familiar classes of subjects. Schreyer is essentially a 
creative painter. He finds his subjects in nature. His mem- 
ory isa mine of models for him. But everything he paints is 
imbued with his own spirit, too dashing and bold and resolute 
to secure the subtle poetry of Fromentin, and too refined in feel- 
ing to rival the fierce force of Delacroix, but always instinct 
with life, movement, and the ripe and rich reflection of the art- 
ist’s colorful mind. Between these two great painters Schrey- 
ers manner is a happy compromise, entirely independent of 
servile imitation, an expression, in fact, of a sympathetic rec- 
ognition of kindred spirits in them. Until 1870 Schreyer 
was a resident of Paris, but since that time he has divided 
his life between that city and his estate at Kromberg, near 
Frankfort, where he lives surrounded by his horses and hounds, 
practising his art with an energy that advancing years have 
been unable to impair. He was invested with the Order of 
Leopold in 1860, received the appointment of court painter 
to the Duke of Mecklenburg in 1862, is a member of the 
academies of Antwerp and Rotterdam, and received first med- 


110 THE SENEY COLLECTION. 


als at all the important European expositions between 1863 
and 1876. 


PAGE 


No. 71 For Food and Shelter . 165 
No. 91 The Rear-Guard . ; : oe 75 
No. 148 Zhe Watering-place . : ; : eos 
No. 174. Onthe March . 4 : ’ re les 
INO. 197. 2, Come: [lero gee ; ; ; 280 
No. 248 Zhe Contrabandist . , ; . aay 
No. 300 The Wallachian Post-Carriza , : . 288 


STETTEN (KARL VON) sg ; : ° Paris. 


French art working in a German spirit has produced one of the 
classical painters of the generation in Karl von Stetten. A na- 
tive of Augsburg, he went to Paris with the impressions of his 
nationalart strong upon him. Asa pupil of the Ecole des Beaux 
Arts, and successively of Jules Lefebvre, the late Gustave Bou- 
langer, Courtois, and Dagnan, he conquered successively those 
stages of technique upon which he founded his own manner. 
He is thoroughly original in his style, and the only reflection of 
his masters that can be discovered in him is that of the two first 
named, and these only in his choice of subjects. In 1884 his 
‘*Cleobis and Biton,” a touching and beautiful realization of a 
pathetic classical legend, drew notice to him at the Salon, and 
his ‘‘ Evening ” at the next exhibition made him still more pop- 
ular with the more critical public. In 1886 he made his début 
as a painter of powerful and characteristic portraits, and since 
that time has figured in portraits and imaginative compositions 
and in gexve works. His pictures are marked by careful draw- 
ing, graceful composition, and an execution almost elegantly 
polished, and where he represents scenes of the past he invari- 
ably proves himself an authoritative investigator into the arch- 
zology and history of the period which he treats. He has his 
studio permanently in Paris, and has latterly given much of his 


INDEX AND BIOGRAPHICAL NOTES. III 


attention to important decorative compositions for public pur- 
“poses. 


PAGE 


No. 254 Zhe lmage Seller. f : : 261 


STEVENS (ALFRED) . ° ; ; : } Paris. 


France and Belgium set up rival claims to Alfred Stevens, and 
at one time there was a keen dispute between the critics of the 
two countries as to the honor of his ownership. It has been 
latterly conceded, howeyer, that in the art of the disputed 
master his two schools may share their titles for reg ‘nition. 
Born at Brussels in 1828, Stevens studied first at 4he Paris 
Ecole des Beaux Arts, and later under Navez in Belgium. 
Navez, a gifted follower of David, laid in his more gifted pupil 
the sound foundation of an artistic future. Young Stevens 
also received encouragement and support from his elder brother 
Joseph, a distinguished painter of gezve and animal life. From 
the studio of Navez, Stevens passed to that of: Roqueplan in 
Paris, and there he created for himself the style by which: he 
became prosperously known. His first exhibitions of original 
works were made in 1849, and he early found powerful patron- 
age. Ashe advanced in power, he discarded his early manner, 
in which the influence of his Belgian schooling found reflec- 
tion, and developed. a lighter touch and more poetic sentiment, 
with greater elegance of style and execution. Medalled at 
Brussels in 1851, he received medals of the third, second, and 
first classes, respectively, at Paris, in 1853, 1855, and 1867. In 
1855 he was invested with his native order of Leopold, in 1863 
he became a member of the Legion of Honor in France, and 
in 1878 reached a.Commandership. Austria and Bavaria have 
likewise admitted him to official honors, and the museums of 
France, Belgium, Germany, and England give places of prom- 
‘inence to his works, which testify to the esteem in which he is 
held. As the head of a strong and influential school, by which 
_ the \combination of impressionistic sentiment with realism has 


112 THE SENEY COLLECTION. 


been given a permanent place in modern art, Stevens makes a 
figure of individual importance, and secures the assurance of a 
future of respect which will duplicate that which he has con- 
quered for himself at his easel. 


4 PAGE 
No. 16 Devotion . 5 ; : : : oS1 37 
No. 59 The Watcher . : : : : 1s 
No. 89 Zhe Japanese Room.  . : , Sek 74 
No. 165 Medttation ' ’ : ; ; . 214 
No. 175 On the Coast . : ; . : Pee GS: 
No. 252 The Departure. (=, 
STEWART: (JULIUS. ; : i ; som Paris. 


A Philadelphian by birth, Julius L. Stewart is none the less a 
thoroughly European product in his art. He enjoyed the happy 
fate of being son of one of the great collectors of modern 
times, and thus of being from childhood surrounded by the 
ripest influences of contemporary art. His father, who is the 
owner of one of the finest private galleries and cabinets in 
Paris, is the possessor of the choicest works of Fortuny, whose 
great genius he was among the first to recognize, and of master- 
pieces from other contemporary brushes, whose wielders found 
in him an early and: appreciative patron. That association 
with such works should have an influence on his son, is but 
natural. The talent of young Stewart evidenced itself so 
forcibly out of the surroundings of his boyhood, that it was 
only necessary to give it a direction; and this was found for 
him in the studios of Zamacois, of Madrazo, and of Géréme— 
three artists who enjoyed the friendship as well as the support 
of his father. The earlier original works of Julius Stewart 
were as brilliant, colorful, and spirited as if they had come 


from an easel native to Spain or Italy; but with his advancing “ — 


powers, and his wider social range in Paris, his style assumed 
a more subtle and elegant form, and he occupies to-day, a 


INDEX AND BIOGRAPHICAL NOTES. 113 


unique place as the painter, far excellence, of modern social 
life in the gay city. He paints the festivals and the diversions 
in which he shares, as only he can who enters into them in body 
_and in soul. His great ladies are real great ladies of the Salons ; 
his dandies are real dandies of the Boulevard and the clubs ; 
and his aristocrats are real aristocrats, whose titles of nobility 
are worn as naturally as their dress suits, or the uniforms that 
give them the dignity of state figures in an official pageant. 


PAGE 
No. 395 The Hunt Ball : : : ; 2 OTs 
TISSOT (JAMES) : . : : ; : London. 


Two artists whom England claims for her own, though both are 
of foreign origin, are James Tissot and L. Alma-Tadema. The 
latter is a Belgian -by birth ; the former, a native of Nantes in 
France, but by long residence in London Anglicised in every- 
thing but his talent, which stills retains its national gracefulness 
and spirit. Tissot, a pupil of Flandrin and of Lamothe, was 
known as an exhibitor at the Salon as far back as 1859. His 
*‘ Faust and Marguerite” of 1861 was purchased by the State 
and is in the Luxembourg, and his early pictures were commonly 
scenes from the medizval period, executed with an affectation 
of the style of art of the period itself, in a certain severe precis- 
ion of manner and simplicity of method. In 1870 he exhibited 
at the Salon for the last time, and, settling in England, came 
rapidly into vogue there as a painter, and into popularity as an 
etcher. He had commenced to find his subjects in modern 
familiar life, and by a happy selection of his types of woman- 
hood he struck the keynote of success. His women, graceful, 
elegant, and distinguished of manner, formed a distinct artistic 
creation, and the surroundings in which he placed them exhib- 
ited equal originality of selection and picturesqueness of condition. 
As an etcher by the dry point method, Tissot proved himself 
quite as dexterous a master as with the brush, and the proofs of 
his plates are now among the print-shop’s costliest rarities. 


8 


114 THE SENEY COLLECTION. 


PAGE 
No. 9° Lu the Louvre . ; ; ; : . 175 
TROYON (CONSTANTINE). : ; : Deceased. 


After many years of absence from the French exhibitions, he a 
couple of years ago made in a Paris gallery a private display of 
a series of character studies of Parisian women of the period, 
which secured for him in France a repetition of the great suc- 
cess which had long been hison the English side of the Channel. 
He has also produced some remarkably spirited and original 
works in portraiture. 


A man of a rustic manner, bluff and bold, who might have been 
one of the gamekeepers or herdsmen whom he painted—such 
was Constant Troyon. Troyon was born at Sévres in 1810, and 
worked in the porcelain manufactory, as his father had done 
before him. Riocreux, the flower painter there, taught him to 
draw, and at twenty years Troyon was a student of landscape- 
painting from nature with some advice and encouragement from 
Roqueplan, whom he met on one of his sketching tours and who 
became interested in him. It was as a landscape-painter that 
Troyon made his début in the Salon of 1833, and in this walk he 
displayed a sentiment for light and color of the first order; but 
in 1847 he astonished the Salon, after a trip to Holland, where 
he had studied the old Dutch masters. closely, with a cattle 
piece so splendid in spirit and so powerful in color and vivid 
realism, that his fame was established at a single stroke. In 
1849 he was decorated with the Legion of Honor, and the aug- 
mentation in the prices and the popularity of his works made 
him rapidly rich. The great school of French cattle-painting, 
whose foundation Bracassat had laid, Troyon built up. He 
gave to the brutes he painted, life and soul. His oxen have the 
grand movement of nature, his cows ruminate the cud and 
watch you with their soft eyes, his sheep bleat an appeal out of 
the canvas, and the dog which guards the flock or travels at the 


ee ae ee ee eS ee 


INDEX AND BIOGRAPHICAL NOTES. IIT5 


heel of the poacher or the gamekeeper only needs to bark to be 
alive. Poetry saturates his art—the humble rustic poetry which 
becomes majestic through its very simplicity. Troyon’s color, 
his appreciation of light and the ripeness and harmony of tone 
which characterize his pictures, were sustained to the last. He 
won medal after medal, at Salons and expositions, and enjoyed 
for nearly twenty years an uninterrupted course of honor and 
prosperity. Like Corot, he remained unmarried, content with 
his art and helpful of the younger talents whom his genius 
attracted to him, and upon whom he made an impression which 
one sees reflected still in French art. Sixty masterpieces from 
his brush graced the Salon between 1833 and 1865, in which 
latter year his splendid career passed into a splendid memory. 


F PAGE 

4t The Windmill : ; : 4 . 149 

44 The Water Cart : ; : : Se 

57 A Poultry Yard : ; ; : AEST 

82 The Herd ; : i , eet 
127 Sheep é ; : j ; ‘ . 195 
147 The Red Cow ., ; : : : . 205 
151 The Storm } i j ; . 207 
161 Return from the Pastures : , 212 
179 Harrowing ‘ : ‘ : HSS Be 
187 Entrance to the Wood : : : apes 
194 The Ewe Lamb } $ , F [e225 
223 A Normandy Ox  . re es : - 244 
a a ; : : : ‘ . 249 
245 Cows : : : : . » 255 
258 The Old eS ; : , . 204 
269 Summer-time . : ; : : ais 
Mae eft 2 Forest. i ep a4 
NE SATE 8 oki etn) 21278 


RMR! HACE inet a0 TO i EL ae ov 288 


116 THE SENEY COLLECTION, 


TRYON (DWIGHT WILLIAM) . : New York. 


A new landscape painter made his appearance in New York at 
the National Academy exhibition of 1872, in whom artists and 
critics professed to find the promise of a revelation in his art. 
It was at a time when the familiar, older school of American 
landscape was becoming hackneyed, while no newer form of 
expression in the art had as yet asserted itself. D. W. Tryon 
was one of the first of the younger American landscape painters 
to seek abroad for a direction and an inspiration not to be found 
at home. Born at Hartford, Conn., in 1849, he settled in Paris 
in 1876, where he was at various times a pupil of Jacquesson, : 
de la Chevreuse, Daubigny, and A. Guillemet. Under these 
masters he confirmed the promise of his déwt. The originality 
and feeling demonstrated in his picture of 1872 received the 
reénforcement of technical skill that was required to perfect 
them, and in 1881, after years of study in France, Italy, and 
Holland, he returned to the United States to take his place among 
the leading painters of landscape in America. It is especially 
in his moonlights that Mr. Tryon finds most eloquent expres- 
sion. The serene mystery of night, always luminous and 
peopled with vague form, presents for him a problem which his 
brush is happiest in solving. The poetry of gray October 
days, of winter evenings when the frost-fog rises from the rivers, 
and of spring twilights when the atmosphere is like a veil of 
silver, have likewise found in him a sympathetic and masterly 
interpreter. Mr. Tryon now has his studio in New York, and 
is a member of the Society of American Artists, at whose exhibi- 
tions some of his most notable works have been displayed. 


PAGE 
No. i15 <Aloonlight : : ‘ : . 189 
TURNER (CHARLES YARDLEY), N.A. . New York. 


At first a pupil of Jean Paul Laurens in Paris, and later of Mun- 
kacsy and of Bonnat, Mr. Turner enjoyed the contact and influ- . 


INDEX AND BIOGRAPHICAL NOTES. 117 


e 


ence of three strong painters in the formation of his own art. 
He had not by any means gone to them without preliminary 
equipment, however, for even in his earlier student years, as one 
of the workers at the National Academy Schools and the Art 
Students’ League in New York, he had won commendation by 
excellent draughtsmanship and a sound sense ‘of color. What 
his native schools began the azelzers of the French masters com- 
pleted, and his first exhibit of an original picture in New York, 
at the National Academy in 1882, was accepted as his valid 
title to recognition. This exhibit consisted, in fact, of two pict- 
ures. One, a ‘‘ Scene on the Grand Canal, Dordrecht,” showing 
the milk-men and women returning to their boats, after the 
day’s delivery of milk, was a forcible and characteristic study of 
a picturesque feature of Dutch life. The other, ‘‘ The Days 
that are no more,” representing a young widow and her little 
son descending the stile from a country graveyard, brought 
forward the sentimental side of the artist’s nature. While a 
painter of a realistic tendency, and in everything a devoted 
student of nature, Mr. Turner has never been content with the 
mere substance of things, and his imaginative and creative 
activity has produced some works of distinct native feeling and 
interest generally in illustration of American poets. He became 
an Associate of the National Academy in 1884, and a Member 
in 1886. He is also a Member of the Society of American 
Artists, and of the American Water Color Society, and as an 
etcher ranks among the leaders in that art on the Western 
continent. He is a native of Maryland, having been born in 
Baltimore in 1850. 


PAGE 
No. 742 Dreaming ; : 254 
ULRICH (CHARLES FREDERICK) : : Venice. 


‘Probably no young American artist made a more auspicious first 
appearance before the public than Charles F. Ulrich. His pict- 
ures, so admirable in technique, fine in color, finished in detail, 


118 THE SENEY COLLECTION. 


and strong in character, were the sensation of their day. They 
presented the artist asa sincere and thoughtful man, into whom 
had entered some of the spirit of the great Dutchmen, Van der 
Meer of Delft, Pieter de Hoogh, and their brethren of the 
glorious epoch of Netherlandish art, while the advanced methods 
of the modern schools had rendered his hand skilful and his eye 
keen. Born in New York City in 1858, Mr. Ulrich was the son 
of a photographer who had himself been a painter, and who 
encouraged in the boy the talent which he displayed in his early 
childhood. After laying the foundation of his education at the 
National Academy of Design, he was transferred to Munich in 
1873, and there foreight years he painted at the Ecole des Beaux 
Arts and in the studios of L6fftz and Lindenschmidt. Upon 
his return to America, he commenced the production of a series 
of pictures simple in subject but remarkably elaborate in detail 
and polished in execution, which included the ‘‘ The Glass- 
blowers,” with which he crowned his success in 1883. He 
followed this in 1884 with an important and masterly scene at 
the emigrant depot in Castle Garden, under the title of ‘‘In 
the Land of Promise,” a picture which with its variety of char- 
acter and delicacy of sentiment demonstrated the breadth and 
strength of his talent in a commanding degree, and won for him 
the Clarke prize at the National Academy and an associateship. 
For some years Mr. Ulrich has resided abroad, principally in 
Venice, and his art has during that period secured him the 
highest recognition inthe art circles of Germany, and in Paris 
and London. 


PAGE 


No. 209 The Wood Engraver J ‘ ; 2234 


VAN MARCKE (EMILE) . . .  . Deceased. 


The most distinguished pupil through whom Troyon bequeathed 
to the succeeding generation a reflection of his own genius is 
Emile van Marcke. Van Marcke was born at Sévres in 1827, of 
artistic stock. He was employed in the porcelain works as a 
decorator when he attracted the attention of Troyon. The 


INDEX AND BIOGRAPHICAL NOTES. 119 


latter was in the practice of making.a weekly visit to his mother, 
who resided at Sévres, and so the young decorator and the elder 
artist were frequently in contact. The constant sermon of 
Troyon was that the gifted youth should go to Nature, and Van 
Marcke, in the time spared from his trade, obeyed the injunc- 
tion. He, however, lacked the confidence to produce original 
work until the encouragement of Troyon again came to his aid, 
and a certain degree of success emboldened him to abandon the 
pottery for a studio in Paris. Van Marcke’s early pictures 
betray strongly the feeling and influence of Troyon. While 
more careful in drawing and more elaborate in detail, their color 
and technique show the association of the master. But with 
increasing confidence and experience, Van Marcke created a 
style, with which he is now thoroughly identified. His color 
became fresher, livelier, and more brilliant, and his effects of 
light brighter and more sparkling. He isa master draughts- 
man, equally a master of composition, and the grouping and 
modelling of his cattle is always pictorial and true. His land- 
scapes are of an equal degree of excellence, and are replete with 
the charm of a joyous and smiling nature. Effects of midsum- 
mer midday and of showery skies over pastures enriched by a 
humid soil find particularly happy rendition at his hands, Van 
Marcke appeared first at the Salon in 1857, and has been repeat- 
edly medalled in 1867, 1869, 1870, and at the Exposition Uni- 
‘verselle of 1878 received a medal of the first class. He was 
invested with the Legion of Honor in 1872, and received 
additional honors at recent exhibitions. Died January 7, 1891. 

PAGE 


No. 42 The Cow-Keeper : ; ; : LO 
No. 306 ich Pasturage : , ; : . 292 


VIBERT (JEAN GEORGES) re ee Paris. 


One of the strongest individualizations among the artists of Paris 
is Vibert. At the age of fifty he still preserves the spirit of his 
student years. He is not only a painter but a satirist of drastic 
power and an author of pointed excellence. He is a Parisian 


120 


THE SENEY COLLECTION, 


by birth, and if he may be said to be a pupil of any one, his 
master must be considered to be Barrias, although he also did 
some early work under Picot. He first exhibited at the Salon of 
1863, and made a virtual failure. His active intelligence gave a 
new direction to his art, and seven years later, at the age of 
thirty, he was decorated with the Cross of the Legion for his 
‘* Roll Call After the Pillage.” His good-humored satires on 
the hypocrisy and self-indulgence of monkish and ecclesiastical 
life did much toward advancing him in popularity, and one of 
the latter, ‘‘ The Missionary’s Story,” may be recalled as having 
been sold in this city, at the sale of Mrs. Morgan’s collection in 
1886, for $25,000. Vibert was not content with triumphs in oil 
alone, but spurred by the exploits of Fortuny in water color, he 


2 


began in it a series of experiments that have placed him among 


the first aquarellists of the world. He was the leader in the 7 


movement that resulted in the formation of the now powerful 
Society of French Water Colorists, a society that, by its lofty 
standard, really forced the Salon into a marked reform in the 
character and improvement in the quality of the pictures it 
accepted for exhibition. Vibert is a passionate devotee of the 
drama, a persistent theatre-goer, and himself the author of some 
witty and successful pieces. This side of his character is very 
clearly revealed in the always dramatic and effective manner of 
his compositions, in which a point is never lacking and in which 
a story is invariably clearly and sharply told. He is an admira- 
ble colorist, fond of daring experiments, and in his execution is 
as accurate and painstaking as he is elegant and graceful. 


; PAGE 
No. ©! Whe Forbidden Book | , | ; . 159 
No. 173 An Art School , ; : : 218 
VILLEGAS (JOSE’ DE). ssp¢=i> ee 


It was from Mariano Fortuny, whose genius inspired Spanish art 
with new life, that Villegas received much of the direction and 
form of his own talent. He was one of the artists who formed 
the little colony in Rome which gathered about its gifted young 


INDEX AND BIOGRAPHICAL NOTES. 21 


leader, and in his peculiar line the most brilliant of them all. 
When Fortuny made his famous visit to Granada, where he com- 
menced his series of grand oriental subjects, he found there at 
work making studies the young compatriot who was destined to 
largely fill the place his death made vacant. The friendship thus 
auspiciously begun was an enduring one, and in the biographies 
of the brother artists their fraternity of thought and sympathy 
forms an interesting and touching feature. Villegas is a native 
of Seville. He studied first at the local School of Fine Arts, and 
at the age of twenty went to Rome, where he devoted himself 
assiduously to the study of the old masters. He succeeded in 
making an impression from the start, and his works found their 
way directly from his easel into private collections, so that he 
won little of the public notice that comes to artists from exhibi- 
tions. Villegas, like Fortuny, early began to surround himself 
with accessories contributory to his vocation, and his collection 
of arms, armor, costumes, old furniture, and the like is one of 
the finest in the world of art. In spirit and sympathy he is a 
thorough Spaniard, and his most striking and triumphant works 
are those which relate to and illustrate the characters and 
customs of his native land. He stands to-day at the lead of the 
Spanish school of art, and is, in his proper person, equally 
respected and beloved. A modest and sincere man, to whom 
his art is a part of his life, it has been truly written of him by a 
distinguished critic : ‘‘ He has that quick, intuitive perception of 
form and anatomy which enables the leading artists of the Spanish 
school to place upon the canvas life-sized figures in a variety of 
easy, natural attitudes—figures which convey the impression that 
they have the use of their limbs and can move about.” 


PAGE 
No. 29° The Halberdier . : : ‘ 2 _ 282 
VOLLON (ANTOINE) ; : : 7 q Paris. 


The greatest French painter of still life, who repeats in our day, 
° even more triumphantly, the successes of Jean Baptiste Chardin, 
is also, in other lines, an artist with the power of a master. 


122 


THE SENEY COLLECTION. 


Vollon was born in 1833 at Lyons, and is a pupil of Ribot. He 
paints landscapes, marines, flowers, and genre subjects with 
equal skill, but it is by his treatment of still life that he has 
scaled the pinnacle of his fame. He went to Paris early, after 
some years of self-instruction, through which he already pro- 
duced noteworthy work. Though at first rejected at the Salon, 
he struggled on, and in 1865 was rewarded with a medal. The 
influence of Ribot strengthened and perfected his style; the 
critics found him out, and the public followed them. In 1868 
and 1869 came other medals, and in 1878 one of the first class. 
The Officership of the Legion of Honor fell to him on this year, 
after he had been a member of the order since 1870. It was a 
study of two fish that secured him the red ribbon, and the picture 
was purchased by the government for the Luxembourg, where 
other works of his have since joined it. Vollon may be said to 
have almost raised still-life painting to the dignity of history. 
His arrangement of his subjects is always picturesque. His 
color is superb, always fresh, ripe, and clear, and his brushwork 
is vigorous and large, while never coarse or insufficient. Sub- 
stantial quality, admirable lighting, and fine atmospheric feeling 
are associated with his still-life subjects, as with those in which 


- the sea or the shore are treated, and they have been aptly char- 


c¢ 


acterized by one of the critics as ‘‘interior landscapes.” A 
career of extraordinary success has crowned the labors of the 
artist with prosperity, and the acknowledgment that he has 
founded a dignified school of painting on the ruins of one of the 
most mechanical and artificial departments of imitative art. 


PAGE 
No. 35 Flowers and Fruit: . i é , . 146 
No. 113. Onthe Seine . : . 188 
NOM E20 itll Life ; : : ; : . 194 
NO, 222 Sti i7ee : eA 
WHITTREDGE (WORTHINGTON), N.A. . New York. 


The history of Mr. Whittredge is, like that of many of his con- 
temporaries in American art, one of struggle and of sturdy self- 


123 


development and indomitable progressiveness. Born at Spring- 
field, O., in 1820, he was engaged in mercantile pursuits in 
Cincinnati until his inclination to art completely overcame the 
instinct for business, and he renounced the desk for the easel. 
_ He was his own first master and teacher, and became a portrait 
painter in Cincinnati, until, in 1850, he had accumulated the 
means necessary for a trip to Europe, where he studied in the 
public galleries of London and Paris, and thence went on to 
Diisseldorf, where for three years he remained a pupil of Andreas 
Achenbach, Belgium and Holland were his next study-grounds, 
and in 1855 he went to Rome, whence he returned to settle in 
New York in 1859. He was made a Member of the National 
Academy of Design the following year, and in 1874 was elected 
president of that institution, holding the office for three years. 
A constant and loving study of nature and manly fidelity to her 
simple truths are a characteristic of his landscapes. His style is 
free and loose, and in the representation of foliage, especially in 
forest interiors, he has achieved some of his happiest effects. He 
is one of the few older painters of America whose art has kept 
pace with the time, and who has not rested upon old laurels, but 
gone steadily on to the conquest of fresh ones. 


= PAGE 

No. 118 Sunday Morning (in collaboration with 
Eastman Johnson, N.A.). . 190 
WURGGINSTCGARLETON) §6)0 ¥ 04 New Work. 


The first exhibit of Carleton Wiggins at the National Academy 
of Design, in 1870, denoted the young painter to the expe- 
rienced few to be a man whose vocation had not been mis- 
takenly chosen. He was, at the time, a pupil of the Academy, 
but had enjoyed no special instruction otherwise. His tech- 
nique was a problem worked out by himself. He possessed, 
however, a very broad and logical intelligence, and was not 
averse to the solving of problems. For some years after he left 
the Academy schools, he painted, upon his own instinct entirely, 


124 THE SENEY COLLECTION. 


pictures of landscape and cattle that won him regard in public 
exhibitions, and secured him a fair share of private patronage. 
Finally, an amateur who recognized his great talent and its 
needs, became his patron to a degree that enabled him to spend __ 
two years in Europe, in 1880-81. Under the developing influ- _ 
ences of the great art of France, his talent ripened rapidly. A 
complete revolution in his style became apparent, and the fruits 
of diligent study revealed itself in his strong and secure tech- 
nique. Going to France as a painter of ability, he returned the 
most completely equipped painter of cattle in America. For 
some years he maintained a studio in Brooklyn, contributing 
regularly to our exhibitions and finding places in private collec- 
tions for many of his works. More recently he established him- 
self in New York City, He is a member of the Society of 
American Artists, and of the American Water Color Society, in 
the councils of both of which associations he is a prominent 
figure. 


PAGE 
No. 2°4 venting at Barbizon : , , iggy 
WYANT (ALEXANDER H.), N.A. .  . New York. 


Since his first exhibition at the National Academy of Design, in 
1865, A. H. Wyant has taken a place of honor among the first 
painters of American landscape. He has delineated foreign 
subjects as well, but it is in his native scenes, so strong in ‘their 
grasp of nature and so modestly poetic in feeling and expression, 
that his loftiest powers show. He was born at Port Washing- 
ton, O., in 1836, and his earlier studies were made without 
special schooling. After some years of experimental labor at 
home, he went abroad, and acquired additional technical skill as 
a pupil of Hans Gude at Carlsruhe, and as a student of the works 
of Turner and Constable in London. In 1868 he was made an 
Associate, and in 1869 a National Academician. From the 
period of his permanent establishment of himself in New York, | 
Mr. Wyant has become the principal pictorial chronicler of the 


INDEX AND BIOGRAPHICAL NOTES. 125 


magnificent sylvan scenery of the Adirondack wilderness, Its 
romantic forest interiors, its sparkling streams, translucent lakes, 
and wild and lonely clearings; its towering battlements of 
frowning cliff and its walls of verdurous mountain-side, have 
spurred his brush to its greatest achievements. It is an essen- 
tial characteristic of his art that it is thoroughly native to the 
soil, His foreign study has left no imitative impress upon him, 
An American artist heart and soul, he paints American nature 
as it is, full of the charm of primeval poetry that still breathes 
through it. An accomplished draughtsman, an equally accom- 
plished colorist, and a thinker of a gentle mood of harmonic 
sympathies, the artist is reflected in his art, side by side with the 
man, whose industrious years are rich in the prizes of private 
life as well as in those of professional renown. 


PAGE 
No. j,9 Zhe Evening Glow . ; 34 
Reems 2c 0/2 House. ‘ ‘ ; aes: 
NO te Lucmiang 4 ee 22>: 
No. ys A New England Landscape. . 194 
NOnie yp OMnsel- | ; : i ; 243 
ZAMACOIS (EDOUARD) Seem. Deceased. 


A Spaniard with the wit of a Frenchman, a painter with the 
satire of Goya and the art of his master Meissonier, it is no 
wonder that the début of Zamagois in 1863 was hailed by Paris as 
the rising of a new sun over the horizon of art. The artist was 
then twenty-three years of age, burning with the fire of youth and 
spurred by the daring of an audacious and fecund brain. At 
each succeeding Salon his exhibits widened his popularity and 
augmented his reputation, which was crowned in 1870 by his 
“Education of a Prince,” a satire so bitter and scathing, yet 
withal so brilliant in its execution, that reprobation was dis- 
armed by the genius of which it was the evidence. The picture 
was the swan-song of the artist. He died in 1871, having 
scarcely turned his thirtieth year, The life work that he left 


P26) THE SENEY COLLECTION. 


formed a series of gems, sparkling with wit and color, in which 
the influence of Meissonier showed in a certain decisiveness of 
handling, but which were thoroughly individual and unique. 
His color was pure and intense, his style finished and fine. It 
was not enough for him to make his point, but he must also 
make it as perfectly and completely as he possibly could. Like 
Moliére, with whose genius that of Zamacois displays a decided 
affinity, the effect of the artist’s work was always allied with and 
supported by the extremest elegance of execution. He was fond 
of daring experiments of color, and his pictures were a perpetual 
amazement and delight to artists more timid and less original, 
who acknowledged in the fiery young genius from Bilboa one 
worthy to take his place among those masters whom Paris was 
proud to call her own, irrespective of their birth or blood. 
When the war-cloud burst over France, Zamacois stood with 
his future in his grasp, and the shadow of doom upon him. 
After the wreck was cleared, when French art numbered its 
dead, there was to be supplemented to those who had perished 
upon the field of battle, the Spaniard who had become a 
Parisian, and who, flying before the blasts of battle, had suc- 
cumbed to the mortal malady which had prevented his serving - 
with his brethren in the ranks. 


PAGE 


No, 206 Lhe Frightened Butler, es 238 


ZIEM (FELIX) . : ; ; ° ° . : Paris. 


What Guardi was to architectural Venice, Ziem has been to her 
canals and their prospects of palace and of park. In the earlier 
stages of his career he painted many fine pictures of French, 
Dutch, and Turkish scenery, but it was when he commenced to 
develop the mine of material in the Queen of the Adriatic that 
he struck the keynote of his vocation. A native of Beaune, in 
the Céte d’Or, he was graduated out of the art school of Dijon, 
and began his productiveness by records of his wanderings in . 
Southern France. He received his first Salon Medal in 1851, 


eT ee On ee ee ee ee ee ee eee 


- oe! ee eee aed 
Saar 


INDEX AND BIOGRAPHICAL NOTES. 27 


for a picture of Dutch scenery, and was admitted into the Legion 
of Honor in 1857 for his views of the Golden Horn at Con- 
stantinople, and the Place of St. Mark at Venice. He has been 
an Officer of the Legion since 1878. His color, which is the 
strongest feature of his art, has the grand and mellow splendor 
of the greatest period of ancient art. He is a capable draughts- 
man, but not a strong one, as his early schooling was brief 
and incomplete ; but in his Venetian views, painted from the 
heart in pigments of living fire, there glows and flashes all the 
harmonious magnificence of the South. His sunsets flame with 
subtle melodies of color. His dawns over the lagunes and canals 
of the Adriatic have the palpitating blaze of jewels. Where 
Rico gives us the Venice of broad daylight, scintillant with real 
sunbeams and brilliant with wide and penetrating light, Ziem 
translates her mornings and her evenings into rhythmic notes of 
color, which bring up in the memory of the spectator scraps of 
the verses of De Musset, of the descriptions of Gautier, and 
of the romances of Venice’s own history in its days of imperial 
and irresistible power. 


PAGE 


No. 149 The Canal of Chioggia, Venice. . . 206 


am CATALOGUE. 


FIRST NIGHT’S SALE. 


Wednesday, February 11, at 7.30 o’clock, p.m. 


In the Assembly Room of the Madison Square Garden. 


{ 


*,.* Measurements given are in inches, the first figures : 
indicating the height of the canvas. ; 


I ; 


I. H. CALIGA & a 4 
| Violet : f m ) piv j a 


9% x 8 


Seen in profile, and facing toward the right at bust length, a young girl in 
a white wrap is shown against a white background, smelling a flower which she i 
holds in her hand. Her head is slightly bent forward, and covered with a 
wide-brimmed straw hat, around whose crown a white sash is wound. She 
is of a brunette type, and her rich complexion and her dark hair make the color 
note of the picture. 

Signed in full on the right, 1884. Panel. 


9 


an 
G, MICHEL 
a 


The Ravine Road | 


II X 14 


A rough road passes, under wooded crags, through a ravine in which a 
river flows. Figures are visible fording the stream in the centre, and other 
figures and a baggage-wagon are in the road at the right. This picture is of 
the best period of the artist’s first manner, when he frequently painted in col- 


laboration with Swebach, and the figures are probably by the latter. 


Painted on a panel. 


3 
GABRIEL MAX 


A Suabian Girl 


19% x 13¥4 


A blonde type, seen in full face, at bust length. She wears a red head- 
dress, and a gown of white homespun cotton reaching to the throat. The 


color is ripe and tender, and the painting of flesh and costume of the artists 
most substantial quality of life. 


Signed in full at the right. Canvas. 


ee 
ee a on iv 


RST NIGHT’S SALE. _ 


4 
GEORGE INNESS. 


Sunset { 6 


12x 18 


a i ~The outriding trees of a forest are seen at the right. On the left is a por- 
_ tion of a pool of water. The glory of a crimson and golden sunset blazes in 
eg ‘ the sky. — 


Signed at the right, G. Innzss, 1886. Painted on millboard. 


wa 
CHARLES E. JACQUE . 


98 
Morning 


5% x 8% 


_ Day is breaking over the roofs of the farm-buildings on the left. A shep- 
herd girl, aided by her dog, marshals her fleecy flock out of the sheep-stable to 
the fields for their day’s forage. A flat landscape, with a horizon concealed 
by small, bushy trees, extends to the right from the farm-buildings. The early 
‘sunlight struggles through banks of cold, rainy autumn clouds, making a burst 
of brightness behind the farm and leaving the rest of the landscape in shade. 


Signed in fullon the right. Panel. 


a | Te oo DEL TS NEY COLLECTION. en | ies 
At ig 6 , 
ies \ 


30 J Gi JACQOUSBE ‘ 4 


The Bisiaerta 
a a 12x 1114 

She is seen seated, nearly to the waist, in a blue gown of a décolleté style, 
with her head slightly bent and her face turned in profile toward the left. A 


black ribbon, clasped with a jewel, encircles her neck, and her hands rest in 
her lap. 


Signed in full at the upper right. Panel. 


i 
ALBERTO PASINI 

y V 
\ A Constantinople Market 


I4X 11 


‘ 


Under the wall of a building on whose tiled eaves a flock of pigeons co- 
quette, sellers of melons and vegetables expose their wares forsale. In the. 
centre a public fountain discharges from the house wall into a stone trough at 
which horses drink. Women who have come for water gossip beside the foun- 
tain, and at the left are some open sheds, part of the market-place, and trees in 
full verdure. 


XN 


Signed in full at the right, 1886. Canvas. 


8 
- EUGENE ISABEY K. 


The Black Squall 


12x18 
“ae A sudden storm has arisen and is blowing in upon the coast of Brittany. 
tf : a ‘ Fishermen are hurriedly beaching their boats at a jetty on the right. In the 
7 qt ‘ middle ground an old castle ona rocky headland seems in its massive and stolid 
| 
Wi strength to bid defiance to the elements that assailit. The scene is one of 


-,_ ae movement and confusion, depicted with great spirit. 


\ | ‘oe _ Signed at the left, E. Isanry, ’76. Canvas. 


a me | = 9 

| 

i E. HEBERT o- 
| ny Vis ee 
i ) \ Flora | ES 

. 7 13 X Io % ; 


A young Greek girl, shown at bust length, is decking her tresses with a 


FS ae a oe Lee 


q : wreath of summer flowers. Against a verdant background her face is seen in jj 
‘i. shade. The light, coming from behind, lends it relief and richness of color 
| oo without sharp contrast. The type of beauty is pure and refined, the action of 


the figure natural and spirited, and the sentiment of the subject expressed with 
clearness, originality, and a thorough sympathy with the poetry of the idea 


ft = involved. ; vs 


Signed on top, right, in monogram, Panel. 


Pte) 


ae ASH WANT one 


Evening Glow 


Io X 14 


From the interior of a forest the crimson light of sunset is seen through 
the stems of the trees. The wood is obscured by the invading shadows of the 
evening, so that only suggestions of its details may be obtained. A dim reflec- 
tion of the sunset glow reddens the waters of a forest pool, choked with fallen 


leaves, on the left. 


Signed in full at the left. Canvas. 


It 


We 
\* 1. POKITANOW 


The Hunter 


6% x 14% 


A wide stretch of marshy landscape is broken in the centre by a clump of 
trees on the farther brink of astream. At the left, on the nearer bank of the 
river to the foreground, the figure of a huntsman with game bag and gun is 
discovered. 


Signed in full at the right, ’85. Panel. 


: <4 - FIRST NIGHT’S SALE. 


~ 


* 


12 AMM oH : 


“GG. He BOUGHTON ts 


The Rose 4 


q : 14% x 10% 


In arural kitchen, a young mother sits, at the right, before an open win- 
dow, sewing. She looks up, smiling, at the salutation of her little daughter, 
who, from the garden without, reaches her through the window a freshly 
plucked rose. In the background the shrubbery and wall of the garden are 
seen, with a clear, bright summer sky. 


| oe Signed at the left, BoucuTon, 1861, Panel, 


1 fn 13 
: ot F. ROYBET 


Dividing the Game 


213%,x 17% 


A party of huntsmen have returned from the chase and halted at a eee LY 


to divide their game and refresh themselves before parting on their several 
ways. They are seen about a table in the middle plane at the left. In the 
centre of the foreground, two servants divide up the spoil of the chase, while 
one of the hounds looks on. The painting of the figures, game, etc., is of the 
remarkable quality in which the artist finds his most forcible technical ex- 
pression. : 


Signed in full at the left. Panel. 


1307 ore THE SENEY COLLECTION. 


14 ih ot 


\ 
ce F. M. BOGGS 


ce 
View of Dordrecht a 


184% x 26 


The city is seen from a foreground of water, on which float boats and lug- 
gers moored to the quay. Along the quayis a row of trees, under which 
figures are seen. Behind the trees is a line of houses, and in the centre the 
picturesque cathedral towers up in massive bulk. The windy and clouded sky 
is full of movement, which is communicated to the running rigging and pen- 
nants of the vessels and to the water of the river, 


Signed at the left, Boccs. Canvas. 


2 SR 
a 
5 


15 
F.'D. MILLET 


The Toilet 


16 X 12 


At a table of sculptured marble, in the interior court of a Pompeian house, 
a young lady in a diaphanous white robe, seated on a marble seat, combs out 
her long auburn tresses while she contemplates herself in a hand-mirror, The 
ornate and rich details of the architecture are executed with elaborate skill, and 
the figure is radiant in the clear light of summer sunshine. 


Signed in full at the upper left, 1884. Panel. 


Fs 


__ ALFRED STEVENS (Cy 


a 


af ere merodon Pa 
: 7% X 20 jw <a 


A fair worshipper at a Paris church is seen in full front. She wears a a 
~, 


straw hat trimmed with black, black dress and gloves, and holds before her in 
both hands. a red- -edged book of devotions, The figure is revealed to the bust. 


Ff i % : Signed in fullat the left centre. Canvas. 


17 


_ VON oe ee be 


The Return from the Fields To 


eer x 17% 


The farmer races his string of horses back from labor over a road that 
enters the strawfield of the farm. Stacks of hay, straw, and stable refuse are 
on either hand. Some frightened geese fly before the wild onset of the horses. 
The cloudy sky of autumn is overhead. 


Signed on the right, PeTrENKoFEN. Panel. 


18 
A. H. WYANT 


The Old House 


11 X 16 


The old house occupies the right, near a bridge. Trees are at the left, and 
in the centre isa pool. The sloping foreground is in shadow, while the middle 
ground and distance show under a gleam of light from a rift in the clouds. 


Signed in full at the left. Canvas. 


, fo 
yi f~ | 
i BARON HENDRIK LEYS k- 


Hunter Resting at the Inn 


14 X 14 


A huntsman, returning from the chase, has turned in ata tavern for refresh- 

ment. He sits at the right, with an empty wine-glass in his hand, while from 
the bar window behind him the barmaid applies a light to his long-stemmed 
clay pipe. His game is on the table in front of him, and at the left, on a stool 
‘against which his gun is leaned, his dog is curled up. The costumes and types 
are of the seventeenth century and Flemish. 


Signed in full at the right. Panel. 


é JOHN LAFARGE 


Autumn Landscape 


‘ = 15% x 12% 
as - 
Le 


Fed Autumn woods are seen, ina sloying perspective from left to right. The 
| bie verdure of cedars and the glowing color of foliage that has been turned 


sus by the frost are harmoniously contrasted under a strong, rich sky. 


i 


a 


"Signed at the left, LAFARGE. Panel. 
~ wipe E 


LUDWIG KNAUS 


Bettina 


E ___- Ahead of a charming young girl, whose face is animated by a smile. Her 
rs hair descends upon her shoulders and she is shown at bust length. 


Signed at the upper right, L. Knaus, 1877. Panel. 


140 ; THE SENEY COLLECTION. 


2 


@ (ile ? 


EASTMAN JOHNSON Pe 


The Culprit 


10 X 12 


The bad little scholar is seated on the tall fool’s stool in a corner of the 
school-room. He is a sturdy little, crop-headed, apple-cheeked fellow, and evi- 
dently not yet repentant. He wears a blue suit and boots. One handisinhis 
breeches pocket. The other is against his lips as if to repress his sobs. The ~ : 
book from which his lesson has not been learned is on the floor. On the walls 
hang the coats, caps, and satchels of his schoolmates, to whose industrious 
study he is made an example. 


Signed at the right, E. Jounson, 1867. Canvas. 


“v 
2 ah 
2 \ 


a OF WU = 
Be D' ay JOSEF ISRAELS or & 
| ; | ~) The Fisherman’s Children) un 
) | | 11 X 15% 


In the wash of the surf two youngsters are racing boats made out of 
wooden shoes. Three smaller children approach them from the right, pad- 
dling through the water. The sea breaks behind the figures in short, foam- 
fringed waves, and at the right is seen a portion of a wharf, to which a couple 
of fishing-boats are moored. 


Signed at the right in full. Panel. 


_— 


Anes 


RST NIGHT’S SALE. 


= 


te 


>. 
ive 
=e 
> 


WILLIAM M,. CHASE 


In the Park 


14 X 19 


; Under a wall of rough stone on the left a park pathway ascends a gentle 
slope. At the right the ground descends from the path ina grassy bank. In 
_ the middle ground at the right stone steps lead to a higher level, under trees 
amid the interstices of whose foliage the sunlight shines. A little child, 
dressed in white, advances with cautious steps .down the path in the shade of 
| __ the wall, watched by a lady who is seated on a bench behind her. 


Signed in full on the left. Canvas, 


=) 


25 ] ™ U fi 


ye 
ae ae 
+ 


BENJAMIN CONSTANT” 


a) 


Herodias 
21 X15 


She stands in the centre, erect and haughty in her barbaric beauty, turned 
toward the right. Her right arm and shoulder are bare. Her left hand sup- 
ports a burnished copper charger against her hip. Her draperies of crimson 
and cloth-of-gold are enriched with many jewels. The wall behind her is hung 
* with a magnificent tapestry in dark colors, and a gorgeous oriental rug covers 
the floor. : 

_ Signed in full on the right. Canvas. 


ji ChONZIN hee 


as 26 | 


An Old Windmill 


I5 x 18 


On the summit of a sloping ground, a trifle to the left of the centre of the 
picture, is an old windmill. Behind it the red-roofed, white-walled home of _ 
the miller isseen. The slope of the hill isspaded for vegetables and acabbage _ 
patch occupies the foreground. Beyond the mill is a wheatfield, with sheaves | 

_ and cocks of wheat, and a line of trees shuts out the remoter horizon. The _ 
_ favorite period of the day with the artist, the time just at the point of final sun- — 


set, shows in a sky crossed with shadowed clouds, 


Signed on the right in full, Canvas. 


27 
/G. H. BOUGHTON 


z 
Fading Lo 


12 X 18 Wey 


_ The decline of day shows in a strip of sky, seen over the crown of a deso- 


late and weedy hillside. Across the heath a poor, barefooted peasant girl, 
trudging in search of shelter for the coming night, passes with accelerated 


steps. 


Signed in full at the left. Canvas, 


ee ee ere ee Oe eee eS NS yn TT 
y ‘Uber pa? Os Sar ae eo ae ‘ 


: 


FIRST NIGHT’S SALE. 


. q i: = E 28 | f , 4 A 
Ea i. = bo \ . pe : N° a 
eet eeencorun Fy , vs 
i PA 
i | eas ius 
q ,* The Environs of Paris © ‘ 
J . 13% x 204 


+} oe A view of Ville d’Avray, the artist’s favorite summer residence. The vil- 
lage is seen among trees in the middle distance, under the dip of a hill which 


‘az 

; ? forms the foreground. A vast perspective of country, in which the distant city 
: | 

| } is suggested, forms the remoter prospect. A road from the foreground 
rt if descends the hill. On the right of the foreground are trees, and on the left 
1 5 some smaller shrubbery separating the road from cultivated fields. The light 

) Be roe 

| f comes from the right. A figure of a woman is in the foreground. 

| : Signed on the right, Corot. Panel. ‘ 

: | ae Ee 
D 5 er 
f t .a/ 

ip < we 


<> 


1 we c. 3 ttt NY sn ¢ £2 y 
4 ee ont * C Z * a 


9% X 1736 . 


On the left are houses on the bank, a landscape extending to the right. 


Sea ennmtieitnen Sree 
wily Pe! 


es On the water and shore are figures and boats, the river occupying the fore- 
e ground. The light is diffused through the landscape from the centre of the 
7 sky. 

3 


Signed at the left, and dated 1868. Panel. 


ne 
‘ 


\ 


1440 THE ‘SENEY COLLECTION) ae 


L996 - 
; uy Ret c. pacames 


V +The Toilers ' is 


Ne a 


Climbing 4 hilly path, an old peasant woman, toward the right of the 
picture, bears on her weary back a bundle of faggots gleaned from the forest. 
Behind her, toward the left, two other figures appear, ascending the path, with 
a background of forest and sky. Late autumn shows in the color of the vege- 
tation and in the brooding sky. f 


Signed, at the left of centre, Decamps, Panel, 


* es ON ye 7 . Kel 


In the Woods 
a iS 
S 9% X 14 | 


From a foreground shadowed by majestic trees an opening in the woods is 
seen, into which the sunlight finds its brightening way. The tints of the foli- 
age are variegated and enriched by the colors of early autumn. 


' Signed in full on the left. Panel. 


MA Ae Ts 


qe 


GHT’S SALE, 


FIRST NI 


JULES DUPRE eae vv 


: . a 
Autumn v 


I2 X 21 


Beyond a clump of oak trees which occupy the centre, farm buildings are 


Cw Ns ee eee pe wh Se ae 


_ seen toward the left. On the right a level pasture extends to a horizon of low 
“pa e is } 
z. hills. Cattle graze in the pasture, and a man advances along a road to the 
a2 farm. Therich vegetation is touched and warmed by the russet tints of the 


: waning year, whose bleakness has not yet declared itself. 


Signed in full at the right. Canvas. 


q j - 
| % 
a ge 
| ; 
Le y 
| I | R. SWAIN GIFFORD 
| | : er Woods in Autumn r) 
t f " 
eS 10x 14% 
I es 
ia £ 
: | a _ Atypical American forest of scrubby trees is made splendid by the colors of 
| , autumn. The foreground is a clearing, overgrown with brush. Toward the 
right isa pile of firewood, stacked up for removal, and a figure with an axe on | 
F its shoulder advances into the wood to continue the work of destruction. 
2 


_ Signed in full at the left, 1888. Panel. 
to ’ 


- 


34. 


‘THOMAS HOVENDEN 
e Ay | 

lal e e 
We Grandfather’s Commission 
i a 3 
eo 20x 14% 


Grandfather is seen at three-quarter length, seated in the kitchen, conven- 
iently near a window by whose light he is whittling out a toy boat for his 
grandson. The importance of his employment is indicated by the critical 
gravity with which he inspects the progress of his work, holding his model up 
before him. : 


Signed at the left. Canvas. 


mR ff 
sy fy" f 
Ww 7 «A. VOLLON. | Y: 


Flowers and Fruit 
24 X 19% 


In the centre, a cluster of flowers flourishes freshly in a tall glass jar filled 
with water. On the table at the left are flowers in bunches. A couple of 
oranges lie on the table at the right, and behind them is a yellow fan. A deep 
blue curtain at the left gives brilliancy to the subtler hues of the flowers. 


Signed in full at the right. Panel. 


q 

i 

s 

Le 
t 


o 


b ; w 
\y. ; Springtime : Medfield, Mass. Ce vi 


Ne “Ss ¢ 
ee en 
= @63e-20 


<a 
ee 


FIRST NIGHT’S SALE. 147 


ai 29/54 


a ae V Mis ‘eke ‘i 


The Banks of the Adige wr | 4 


18% X 31 


On the left is a broad but shallow river, on whose hilly farther shore white 
country houses show among the verdure. On the right, a canal passing be- 
tween houses with gardens, and under arches beneath buildings, debouches 
intothe main stream. Figures enliven the shore, which is made brilliant in 
coiitrasts of light and shade by the penetrating brightness of an Italian sum- 
mer sky. 


Signed at the right, Rico. Canvas. 


he 
er : 


GEORGE INNESS 


16 X 24 3 b 


The foreground is crossed by a creek in which cows drink.. A meadow ex- 
tends from the bank into the middle plane, and is dotted with grazing cattle. iy 
Clumps of willow trees border the meadow, and at the extreme left the roof of A 
a farmhouse is seen above them. At the right a break in the line of trees dis- 
closes a distance with low hills. The tender verdure of early spring is made 
more delicate in color by the subtle moisture of the atmosphere. 


14 


Signed in full at the right, 1883. Panel, 


pm aa . 


birig * 
is Oy 


148 THE SENEY COLLECTION. = 


- 38° 
y- oa LaetiauvE 


Winter 


20% x 28 


The scene is on a Dutch farm in midwinter. Bare trees are in the middle 
distance. The ground is covered with snow, and the sky threatens another 
storm. At the left are houses, and acart and horse occupy the centre of the 
foreground. 


Signed in full at the right. Canvas. 


39 : 
H, LEROLLE 


The Wanderer 


At the left a young peasant woman rests herself from the footsore tramp of 
along day, seated under atree. Sheis evidently travelling in quest of employ- 
ment. Standing before her is a shepherdess, who converses with her while her 
sheep gather about ard her dog watches them. In the fields which form the 
distance, fires of brushwood are burning. The sun is descending in a cold sky 
that threatens an inclement night and warns the wayfarer to seek a shelter. 


Signed in full at the left. Canvas. 


~ a. eke 
" we ; 
7 ee 


_. FIRST NIGHT’S SALE. 


40 


LUDWIG KNAUS 
Yi 


A Rustic Rose 


ae 8x6 


es A peasant girl, blooming with rustic health, is shown in full front at bust 
length. Her face isa type of robust beauty, which atones by its fine flush of 


Signed in fullat the upper right. Panel. 


-——- Jife for what it lacks in refinement. 


Ee ae 


| op 


On a hillock at the right an old windmill rises, with idle sails, against 


NSTANTINES TROYON L. ie 
| cw) Wetoin Mg | 


814 x10 ON 


-asunset sky. At the foot of the hill on the right foreground is a pool of 

water. At the left passes a road which traverses an extensive plain into the 
distance. Figures are in the road at the centre. Thescene is the north of 
France or in Belgium. 


Signed in full at the left. Panel. 


* 


eC 


L. 
{). ay EMILE VAN MAR . 


The Comicéete mam 


1344 X10 


In the centre a dun-colored cow, with her back turned upon the spectator, 
reaches up to browse upon the young foliage of a small tree. At the left of 
her a man in a blue blouse with a straw hat cuts himself a cudgel from the 
thicket. The strong drawing, solid execution, and color of the picture would 
denote it one executed at a time in which the artist still preserved the memory 
of his friend and master, Troyon. 


Signed in full at the left. Canvas. 


ar 
‘ o Vat 3 o 
6 yy, #& 
aA i? 
9 wf “ JOSEF ISRAELS 
ine “ 
ik Making Pancakes 4". wn 


m4x6% 


A little Dutch housewife stands at the fireplace pouring batter from the 
ladle into her frying-pan. A fire of turf burns in an iron grating on the hearth 
at the left ready to complete the preparation of the morning meal. Her ex- 
pression is one of absorption in her important task. 


Signed in full on the left. Panel. 


_ FIRST NIGHT’S SALE. 


¥), a ee 3 y yy 
Ya ui; e : ie 
CONSTANTINE TROY ‘A fi at 
ONSTAN ovo," (258 
The Water Cart all a 

14% X 18 m Fi 


A water cart drawn by an old white horse stands in the middle of a stream, 
whence two men on the cart dip their supply of water up in buckets, Willow 
trees and a landscape distance ‘constitute the background, and the picture is : 
broad and simple in treatment, strong and cheerful in color, and vigorous in 4 . 
execution. It was of this subject, with variations, that the artist made one of . 
his greatest successes of his middle period. 


Stamped with the official sale stamp at the left. Panel. 


45 


CHARLES E, JACQUE 


Landscape and Sheep 


18 X 14 


ty Rete hy ages 5 0 


_ Driving his sheep into the foreground, comes the shepherd. The animals 


aes 


ee Oe a se 


graze as they advance. Like all of the artist’s pictures of this period, the 
color shows him at his best in mellowness and harmony. 


cs 


Signed in full at the left, 1849. Panel. 


yg = os es as rn =e 


THE SENEY COLLECTION. 


GEORGE INNESS 
yf > 


The Last Glow 


r6X 14 


seen in the last glow of the sun, which is just descending under the horizon in 
the centre. The rich color of the sky is infused into the landscape with har- 
monious splendor. 


Signed at the left in full, 1885, Panel, - 
° 


i %,' / J. A. GRISON 


AY " The Bachelor’s Toilet 


8x6 


An old beau of the last century is seated before his dressing-table. He is 
partially encased in his gay attire of the day. and, seated with his hands upon 

his knees, leans forward and studies his face in the glass, while a pretty serv- 

ing-maid dresses his hair and compliments him on his appearance, evidently 

to his complete satisfaction. 


Signed at the right, Grison. Panel. 


ot Fea eee 


FIRST NIGHT'S SALE. areas 


J. C. CAZIN. / 


‘The Carrier’s Cart 


I5 x 18 


The houses of a village are on the right. A road passes in front of them, 
and it is bounded on the left by a broad canal, from which it is separated by a ue es ; 
heavy, open fence-work. A boat is seen on the water, with a lantern burning, “a 
and there are houses on the farther bank, over which the moon shows a strug- 2 
gling gleam among the clouds. The carrier's cart is in the road at the right, 
the carrier himself marching in advance of it. Lights in the houses indicate 
that the evening is yet young. 


Signed in full at the right. Canvas. 


(ght 
ie 1,8. 980s A! Ute 


ee 


A group of trees at the right shades the foreground. Inthe middle ground 
is seen a stretch of water, and beyond a village. A path traverses the fore- _ -\ 


se » 
| 


\ 
ground, and figures are seen upon it in the centre. tere 


iy Ga? see 
Signed at the left, Corot. Canvas. ys Soy 7 y S 
¥ 


yr . we F. DAUBIGNY ye 
NY 


Hauling the Net 


13 X 21 ae 


The river occupies the right of ‘the composition. The sky shows the move- 
ment of rolling clouds. At the left, trees shade the bank, and on the brink of 
the river fishermen are hauling in a net. 


Signed at the left, Dausicny, 1873. Panel. 


v EUGENE DELACROIX Hes LS a 


The Lion in the Mountains 
1034 X 14 


In his lair among the crags which form the background, the monarch of 
beasts has been aroused by a suspicious sound. Facing toward the right, and 
nearly in profile, he makes a formidable figure with his blazing eyes and brist- 


ling mane. His tail lashes the ground and his impatient arms are ready for 
the combat which the intruder may offer. 


Signed in full at the right, 1851. Canvas. 


\ 


See FIRST NIGHT'S SALE, ~ 155 


52 
N. V. DIAZ i. 7 ge | /¢ ve 
An Opening in the Woods 
1144 x 18 


Through an arch formed by trees in the foreground, an opening in the 
forest is seen, brightened by a golden summer afternoon. On the left, in the 

S foreground, is an oak-tree that has been blasted by lightning, and the first plane 
is diversified by rocks and a pool of water. The figure of a woman wearing a 
red skirt appears in the centre advancing from the brightness of the clearing 
into the shade of the wood. 


Signed in full on the left. Panel. 


¥: 5M v4 


JULES. DUPRE 


| The Old Farm _ 


13x 16% 


From the right of the picture, extending to the left, a portion of a farm- 
house of the humbler order is shown. It has the solid walls and the strong e nx 
roof of the habitations found in the north of France. At the left is a glimpse 4. 

of distant country. A figure of a woman is seen entering at a door to the . 


right. 


Signed at theleff in full. Canvas. 


EUGENE FROMEN TEES wt -& 
Th pee a : 


At the left two Arab cavaliers are seated on their horses, while from the 


right huntsmen and hounds drive a pair of frightened gazelles. The pursued 
deer are seen in the middle of the picture, with huntsmen behind them, racing 
for their lives before the dogs. 


Signed in full at the right. Panel. 


| | J. J. HENNER }t me 
| . 0 Mage : . Ideal Head 


18 X 13 


Turned toward the left, and seen at bust length, is the artist’s favorite 
type of youthful feminine beauty. The head looks out of the canvas, with 
wide-open eyes and piquant lips. The brown hair descends in wavy masses. 
The left shoulder is bare, and the left hand rests upon the breast, witha portion 
of ared robe showing under the arm. The face, modelled against a dark and 
simple background, is of a remarkably solid quality of flesh and vivacity of ex: 
pression. 


Signed in the upper left corner, J. J. Henner. Canvas. 


J. E. C. ROQUEPLAN 


At the Stile 


19 X13 


In the centre an Italian shepherdess leans against a stile, over whicha 


Mia ung boy gossips to her. She has a distaff in her hand, and her flock is seen. 
a Lo behind her. A powerful color scheme and asolid impasto give the composition 


5% richness and force. ’ = 


"Signed i in full at he right, 1853. Canvas, 


CONSTANTINE HROFONE. A ; 


A Poultry Yard 
23X 17% 


In the centre a young girl, with her apron full of corn, is feeding a flock of 

_ fowl which cluster eagerly around her. Behind her is a chicken-house, built 
up of wheat straw, and in the background an orchard. in full summer foliage. 

- The serene dignity of the girl and the bungry bustle of the chickens form a 


happy contrast. — 


Signed in full on the left. Panel, 


, > ; he: ae : 
58 THE SENEY COLLECTION. om ee 
a — : . z 4 =m 


+h 5 32 
Wg é & 
Bei 


« 


¥ / JULES LEFEBVRE NS 


ni ef a4 


2 


W/ v4 
7 ag, Speranza 
NY Jf 


18 X 12 


Seen at half length in profile, and facing toward the left of the canvas, a 
young girl prays with her clasped hands uplifted. Her pure and devout face, 
with its blonde hair, is seen in profile with the eyes upturned. Covering her 
head and draping her body is a red cloak with a black band along its edge. A 
glimpse of white linen relieves her hands against it at the wrists. 


Signed at right in full. Canvas, 


59 


' ALFRED STEVENS 


The Watcher =a 


19 X 144 


The honeymoon is on its wane. The bride, at the window of her hotel 
room, pensively awaits her spouse, on whom the wedding tour has already 
commenced to tire, and who is seeking some iresh excitement in the novelties 
of astrange town. A white rose on the floor indicates the impatience of the 
watcher, whose hat and wrap upon achair show her to be waiting for an escort. 


Signed in full at the left. Panel. 


FIRST NIGHT'S SALE. : a 

- 60 me 

er Sal ‘= ae 
e 


. ta 
Bathing orses 


26 X 33 


A party of Arabs have ridden and driven their horses down to a little bay 
on the seashore fora bath. Some animals are already in the water and others 
“are being driven in. Broad sunlight burns upon the treeless shores of the bay, 
and givesa keen brilliancy to the color of the sea and the play of the breaking — 


wavelets. 


Signed at the right, V. Hucuer. Canvas. 


61 


fee, VIBERT 


The Forbidden Book |W..." 


25% X 21 AD 


Monsignor, in the scarlet vestments of his cardinalate, stands at the left 


in his study severely lecturing his wilful niece. She is seated in an arm-chair, 3) 
with the interdicted volume into which she has slyly dipped in her hand. She ; on ‘3 
has been gathering flowers in the garden, as her hat filled with roses on a stool | if 
at the left attests. Scientific instruments and books are on a table at the left, + 
and books and manuscripts are on the floor. The background is a wainscoted : rf : | 


wall, enriched with pilasters and carvings. 


Signed in full on the right. Panel. ee i 


62 | \, : 
A, MAUVE | yt <i 


Carting the Log Mv 


32 X 22 


Swung to a timber drag, a great tree-trunk is being hauled up a hilly road 


A white and a black horse tug patiently at their burden. In advance of them, 
at the left, their driver plods along. In the rear, at the right, the wood-cutter 
keeps company with the victim of his axe. A winter evening is drawing on, 
in a sky cold with the advance of an icy rain or snow. The half-frozen mud of 
the road holds runnels and puddles of water. The grass by the roadside is 
dead, and the thickets that fringe it are bare. Trees, whose skeletons still are 
clothed with a remnant of their summer foliage, rise against the sky in the 
middle plane. The scene is in one of the interior provinces of Holland, where 
the artist found some of his finest subjects.: ; 


Signed on left in full. Canvas. 


63 yt" 


id 


ie 
SEYMOUR NJ.“GUY 


ee & 


3 
Making a Train 


| 
18 X 24 


A little girl, in her garret bedroom in an old-fashioned farm house, is 
__ indulging the inherent coquetry of her sex. She has discovered, in the closet 
ae Tiavuad the window at the left, a gay gown once worn by some maturer member 
__ of the family, and over her night-dress she has arranged this garment so that 
_ it shall form an imitation of the fashionable train which she has seen her elder 
sister wear and covets for herself. At the right she has set her bedroom lamp 
_ upon a chair, and it is by its light that she poses. The figure of the child is of 
a beautifully ingenuous type and is beautifully rendered. The details are 
; arranged and executed with the mosthappy result. The effect of lamplight, in — 
contrast with the glimpse of the night sky caught through the window, is viv- 
‘idly realistic. Undoubtedly in every opinion, critical or artistic, that has been 
passed upon it, this picture is the masterpiece of a sterling American artist. 


It is signed at the left in full, dated 1876, and is painted on canvas. 


ao 


H. Ee q rs 


Resting J 


24 X 29 


At the left a peasant girl is seated on the ground. She has beside her a 
brass milk or water jar, and watches some figures returning from labor, which _ 
approach her through a field in the middle ground. The time is evening. 


Signed in full at the left. Canvas. 


5 y? 


F ae “EAN PAUL LAURENS 


The Widow 
24% X 1934 


The lord of the castle has been laid to his last sleep in the crypt of the 
castle chapel. The death candles,burn for the benefit of his soul in an altar 
niche at the right, and their light falls on his stone sarcophagus in front of the 
altar. Approaching from the left, his widow brings still another taper to offer | 
for his sake. Her figure is seen in profile, robed in black. Her bearing is 
stately, though her expression is sad. She advances with a proud step, as if 
repressing her grief by an effort of will, and so slowly that the flame of the 
candle she carries held before her does not flicker. 


Signed in full on the right. Canvas. 


ee ee a bs , ‘ eye ae seats ; ah | 7 a ; 
FIRST NIGHT'S SALE. ; 163 


GEORGE INNESS 


Winter Moonlight 
+ 22 X 30 a be, 


The winter moon shines upon snow-clad fields traversed by a road made 
almost invisible by the drifts. A stone wall follows the line of the road on the 
right, and a couple of bare saplings grow along it. A male figure is seen on 
the road. The distance shows a line of woods, sombre and mysterious in the 
gloom ; and far away, at the right, a tiny light in a farm-house window guides 


Be: the wayfarer’s course. 


ee - Signed at the left, G. InnzEss, 1866. Canvas. 


67 
R. CLEVELAND COXE 


ee hy: The Sailing of the Fishing Fleet 


20 X 30 


| . On a sunny day, in almost a dead calm, the fishing fleet is crawling out of at 
a New England port in a long and picturesque procession. The schooners me | 
are seen in profile, with all their canvas up, and dazzling in its whiteness re, ey 
against the hot expanse of sky. The dories tow at the sterns and sides of the Dees 
a 


vessels to which they belong, and on the right, in the distance, the headland of 
the port of departure is seen. 


Signed in full at the right. Canvas. 


Po 74m 


er 


JULIEN DUPRE 


In the Hayfield 


26 X 32 


The grass has been mowed, and in the foreground a sturdy young peasant 


woman piles it upon a heap with a heavy hay-fork. Other figures work in the 
field across the middle ground. The light and atmosphere are those of a cool, 
bright day,and the action of the foreground figure exhibits an admirable 


vivacity and strength. 


Signed in full at the right. Canvas, 


69 G 


EDELFELDT 


- Knitting \ 


20X 33% 


A little Finnish peasant girl is walking in the woods, knitting as she goes. 


She advances toward the right of the picture. Her face, with its flaxen hair 
terminated in front with two tight plaits, looks out of the canvas as if her 
attention had been attracted by some passing object or unusual sound. Her 
hands, however, still mechanically ply the knitting-needles, educated as they 
are to an industry independent of mere incidental curiosity. 


Signed on right in full, 1886. Canvas. s 


70 


- CHARLES H. DAVIS 


The Coming Mist 


20 X 27 
A level and grassy common extends across the foreground. At the right a 
portion of the hurdle-fence of a sheepfold is seen, and near it some sheep 
grazing. The middle ground is crossed by village houses, making a line 
broken by the varying forms of the roofs. Behind the houses is a line of trees 
and beyond them a ridge of hills. The sunset lingers in an afterglow in the 
_ upper part of the sky. The landscape is entirely in shade. 


Signed in full at the left, 1886. Canvas. 


" ADOLPHE SCHREYER Yo 


ye 
For Food and Shelte \ 


27% X 22 


The sledge of a country merchant, heavily laden with supplies which he 
_is bringing from market, has been overtaken by a snow-storm. The driver has 
reached the door of a poor tavern or cabin in the wastes, and knocks for ad- 
mission at the right, while his horse at the left stands passive in its traces, 
bending its patient head to the beating of the tempest, which creates whirl- 

_ winds of the fallen and falling snow. 


* 


Signed in full at the right. Canvas. 


166 THE SENEY COLLECTION. 


AC aS | 
‘ L § - ae eee 72 
sity AY) ou 
H of r TG es H. SALMSON 


Churning 


22 X 24 


An old woman, seated in the light of a kitchen window, churns at an old- 
fashioned churn. She wears a white cap on her bent head, a bodice of coarse 
gray-brown stuff over a blue gown, and sabots on her feet. She faces to the 
right. In front of her at the right is a wooden bin filled with potatoes. Some 
kitchen vegetables on the ground at her feet await the termination of her but- 
ter-making to be prepared for the family soup. A story of stolid and uncom- 
plaining labor is that which the artist very simply but eloquently tells. 


Signed in full on the right. Canvas. 


ce te fs 
4 = A, NEUHUYS 
i * 
is hal wy 
2 cele as ndustr 
Sead P ¥; & 
Pio, kr 
etl . a 2t x 26% 
\) : 
} : ” : On the left a cobbler sits at a table in front of a window at work. His 


back is partially turned on the spectator. On his right hand his wife is en- 
gaged in mending a stocking. A child sleeps in a cradle at the right. The 
scene is in a humble Dutch interior, where one room serves every purpose of 


living, labor, and repose. 


Signed at the left in full. Canvas. 


NIGHT’S SALE. 167 


ERSKINE NICOL Ne 
Ay PY 3% “2 
Mefital “Arithmetic Laer 


26 X 21 


An Irish farmer has returned from market and is reckoning up on his 
fingers, by a laborious mental process, the total of his purchases, which are 
seen on the kitchen table. His figure is seen at half length, and his expression 
of the utmost gravity gives the picture a touch of dry humor. 


Signed at the left, E. Nicot, A.R.A., 1869. Canvas. 


75 
R. DE MADRAZO 


Mme. la Marquise 


39 X 26 


It may be the Pompadour herself standing in front of her mirror, and ex- 
amining tne dressing of her hair by the double reflection of it and a hand- 
glass. The graceful decoration of the rococo period renders the room a 


fitting background for its inmate’s elegance. Her hat upon a chair at the 


right denotes her ladyship to be about to go upon the promenade, 


Signed in full at the left. Panel. 


P, J. CLAYS . 
+) 


On the Scheldt 


24 X 34% 


she A flotilla of luggers drifts on the lazy tide in the centre and on the left, 
t 
and a fishing-boat is being rowed toward them. Their sails hang almost 


motionless from their spars. In the middle plane at the right are large ves 
sels, becalmed, and a steamship coming in, with other sails along the horizon* 
The warm effulgence of approaching sunset pervades the sky and water and 


is reflected on the idle sails. 


Signed in full on the right. Panel. 


TE 
'M. MUNKACSY 


The Dreamer 


3234 X 251% 


Reclining on a red cushion, a female figure is seen at half-length and in 
the size of life, asleep. The hair is down and the figure is nude to the breast. 
The flesh is of pure and brilliant beauty, accentuated by the rich color of the 
surroundings. 


Signed in full on the left. Panel. 


ORs: eis 


FIRST NIGHTS SALEL 169 


ae g OF: 


Nv: 
EMILE BRETON oh” % 


Evening 


22 X 33 


The sun is setting, red and sullen. A sombre early winter night is coming 
in. Through a scattered grove of spindly birch trees, the houses of a village 
are seen on the right, while on the left are some of the buildings of a large 
farm. A stagnant ditch, whose waters reflect the last sinister glow of the sun, 
intersects the picture, and parallel with it a road passes through the village. 
The mystery of night has already stolen upon the earth, and it requires only 
another moment for the sun to vanish with his last feeble illumination, and 

_ darkness to commence her gloomy reign. 


Signed on the right in full. Canvas, 


7 : Me ta 872 
Na < Moonrise yr ; a 


15x18 


At the left is a house, with some bushes. On the right, the road is bounded 
by alow embankment. The houses of a village cross the picture in the middle 
plane. Twilight has made its misty approach upon the landscape, but a faint 


reflection of the sunset is still seen in the sky, in which the moon is rising. 


Signed in full at the right. Canvas. 


BSS 2 ay Oo en eee ee 
170 THE SENEY ) -COLLECTION, Sak 


| Lo-0 pe an | 80 


ti es * yONT: Wi Dena 


AG : 
i % Flowers 


- 13% X20 


A study of a heap of cut flowers, assembled at random onatable. This 
is one of the rare experiments in color with which the artist indulged himself 
for his own pleasure, and which he rarely parted with during his lifetime. At 
the upper right-hand corner, the harmonious contrast to the rich and splendid 
color of the flowers is afforded by a glimpse of warm summer sky and a sug- 
gestion of foliage. 


Signed in full on the right. Canvas. 


¢, F. DAUBIGN ¥ae 


= _ The River Oise aa 
“1314 x 224 


The sun is setting behind the foreground bank of the river on the right, 


gleams of its light being visible through the trees. In the immediate fore- 
; ground, village washerwomen complete their work and gossip, while a barrow 
loaded with linen denotes the end of a day’s labor. At the left a new moon 
bares shows in the sky. 


Signed at the right, Daupicny, 1872. Panel. 


‘, 


ae 
hee. 
. hs Py. 


si 


FIRST NIGHT’S SALE. 


o«. 
A 


| 82 
CONSTANTINE TROYON 


ae? ae 
The Herd Me, ie 


ws x 184 


~. ‘In the foreground, a numerous and mixed herd of cattle and sheep graze 
~<a : { 
si ina meadow. Trees are seen behind the animals, which are guarded by a 
shepherd. ; 
| _ Stamped at the left with the official stamp of the studio sale held after the 
artist’s death. Panel. 


A lady is seated on a stone bench in a garden, caressing a pet spaniel 

which lies in her lap. In her hair she wears the red rose, which in the symbol- 

ism of the passions denotes the expected arrival of a lover, and the dog looks 
up as if at the sound of coming steps. 


Signed in full at the left. Panel. 


a 
é 
be 


THE SENEY COLLECTION, gem 


84 
LUDWIG KNAUS \\° 
The Goatherds 

9% 7 
In the foreground a little boy whittles a toy for a little girl who sits beside 


| him. The goats the young goatherds have been set to watch climb the grassy 
Bs bank behind and browse upon the tender foliage of the spring bushes. 


= Signed at the left, L. Knaus, ’77._ Panel. 


i gen ar pinot 


85 
G. B. QUADRONE 


In from the Cold 


1844 x12 


i An old poacher, who has been out in the winter fields, returns with his 
hounds to his home. He is about to pass from the neglected and dilapidated 
hallway into an interior room whose doors he is opening. The many trophies 
of dead game hung on the walls show that age has not dulled his eye nor the 
cold of winter made his hand unsteady at his prohibited but fascinating 


- 


pursuit. 


Signed in full at the left. Panel. 


in full front on the canvas. 


GH, BOUGHTON . . 4 adh 
hee Gipsy Girl Be 


20 X 26 


She sits in the hollow of a desolate common, at the decline of day, in an 
improvised encampment before a fire of twigs. Facing toward the right, 
awaiting the return of her vagabond sweetheart, who has gone foraging 
among the neighboring farms for their supper, she thoughtfully watches the 
flickering sparks, while the autumnal fog steals in upon her lonely refuge. 


Signed at the left, G. H. Boucuton, 1874. Canvas on panel. 


87 


a 


Pp, A. J. DAGNAN-BOUVERET 


On Market Day } d 2 6 


v 


PAIR nS gs LOE OI NN OA 


1514 x 1044 : : wk ioe 
f } Se p 3 
(4 7 4 
er 


Phe Ae 
A young and pretty peasant woman is seen at half length, seated ne 2 Nes ae 
Tf 


a purchaser for two fine fowl which she carries in a basket resting on 

knees. Her figure is turned toward the left of the canvas, and her hands are 
clasped upon the arm of the basket. She wears a cap and capeof white muslin 
and an apron of rough gray linen stuff over a blue gown, and her face is nearly Fa \ 


Signed on the right, P. A. J. Dacnan-B., 1886. Canvas. 


174 “THE SENEY COLLECTION, |.) 
. 0 - 88 AY Kh 
+ 
hr) om F. VON DEFREGGER )* 


The First Love Letter 
24% X15 


The Cinderella of the farm has just received her first sentimental corre- 
spondence, and dropping her scullery tasks, is reading the letter at the light of 
the kitchen window. The utensils of the place are scattered about its grimy 
precincts. The cat watches her friend’s delighted perusal of her epistolary 


treasure with an interest almost as great as that of the reader herself. 


Signed on left, DEFREGGER, 1873. Canvas. 


89 | | 
i no” 
ALFRED STEVENS 


\4 


The Japanese Room 
31% x 22% 


At the right, a lady in a house-wrapper of pink anda little child are seated 
atatable. A lady stands behind the table in the centre, and at the left a visitor 


examines a piece of jewelry, which the ladies of the house have given to her 


for a verdict upon it. The background shows a modern Parisian boudoir, dec- — 


orated in the Japanese style, with many Japanese objects of art and ornament. 


Signed in full on the left, 1884. Panel. 


_——- FIRST NIGHT'S SALE. 


te 


90 
~, J. TISSOT 
In the Louvre 


3514 X 19% 


In one of the staircase corridors of the Louvre, visitors are examining the 
ag objects of sculpture, etc., there displayed. Marble walls and columns support 
the lofty ceiling. At the right a group of visitors, male and female, contem- 
plate their surroundings with tHe idly curious interest of tourists. Toward the 
left a man of a more studious temperament leans against a balustrade, with a ae 


_ guide-book or catalogue in his hand, and absorbs the beauties of the place, 


a Signed in fullat the upper left. Canvas. 


3 on 
be 
“ADOLPHE SCHREYER 


314 X 27 


A party of Arabs are advancing, toward evening, over a dangerous country. 
The main body is seen in the middle plane, riding in a straggling line over the 


broken ground. In the foreground a grim old warrior, forming the rear-guard, 
keeps a sharp lookout for surprise, holding in his white horse with a steady 
bridle-hand, and poising his long gun in readiness for use against his thigh. 


Signed in full at the right. Canvas. 


am ears 

"ane 
Fis. hts ee ae ‘ 

7. ee eae 


THE SENEY COLLECTION. = 


PE 


92. 
EUGENE SALA 


The End of the Game 


1514 X 24 


Two men-at-arms, off duty, are playing at cards at a table in the hallway 
of a Spanish chateau, while a third looks on. One gamester on the left hav- 
ing tabled a winning card, looks in mocking triumph at his adversary, who, 
seated opposite him, studies the game, evidently puzzled at the turn it has 
taken. A wooden staircase ascends behind the group, and in the background 
at the right a cellar filled with casks of wine is seen through an open door. 


Signed on the right, E. Sata, Madrid, 1879. Canvas. 


i 
? {1} 
Oe 
~~ . \ od 
\f FF 93 
Ky x 
. 7 LEROLLE 


The Shepherd 


32x 254% 


The shepherd, with his cloak over his shoulders, leans on his long staff at 
the right on the outskirt of a little grove. His sheep graze about him. The 
broad and clear light of the summer moon at the left illumines the land- 
scape to almost the clearness of day. 


Signed, in full at the right. Canvas. 


; 


NIGHT’S SALE. 


94. ee, 


Day Dreams 


33 X 46 


Stretched among the scented grasses and the daisies by the river bank, a 

country girl indulges in those dreams that idleness and a happy mind bring to 
the waking day. Her pet dog watches her gravely as she pursues the thread 
of her pleasant anticipations. The river, witha bridge in the distance and 
houses on the farther bank, forms the background. 


Signed at the right, D. R. Knicur, Paris, 1865. Canvas. 


95 
FREDERICK A. BRIDGMAN 
HAS BC ND} 
36 X29 


In an interval of her kitchen labors, a young Algerine mother is teaching 
her little one its alphabet. She is seated on an inlaid stool, with the baby in 
herlap. With her left hand she holds the tablet on which the lesson is scored, 
while her right arm supports the little scholar in its perch upon her knee. She 
smiles as the child traces with eager finger some recognized letter among 
the many as yet unfamiliar ones upon the tablet, from which the mother once 
learned her own simple lessons on her own mother’s knee. 


Signed on right in full, 1883. Canvas. 


p02. Be PW IRGINIG DEMONT- ae > 


THE SENEY COLLECTION.- 


96 
Gi CLARRANG 


The Puppet Show 


3I X 47 


This is one of the pictures painted by Clairin during his last trip into . 
Spain with his friend, Henri Regnault. The showman has set his marionettes 
dancing on their string at the gateway of a large house in a Spanish street. 
’ A throng of chaffing and good-humored idlers, men, women, and children, sur- 
“round him, while the puppets gyrate to the tune of his partner’s guitar. 


Signed at the left, G. CLarrin, Madrid, 1869. Canvas. 


1 


97 \b 


The Twins 


37 X 30 ‘ \ 


A young rustic mother in the verdant garden of her humble cottage is 
teaching her twin babies how to walk. She supports each upon its feet by a 
firm hold on its single linen garment. The little creatures step out bravely 
with uplifted feet, but a suggestion of timidity in the movement of their hands. 
On the mother, as she stoops to accommodate her height to theirs, a shaft of 


summer sunshine, penetrating the trees of the garden, leaves its light. 


Signed in full on the left. Canvas. 


‘IRST NIGHT'S SALE. 


» Ager ay ph ee 


98 


E. RENOUF see 


Hoisting the Night Signal / 


44% X 37 


ef At the extremity of a stone jetty, drenched with spray, two. veteran 

F rench coast-guardsmen are exchanging the flag used as a day signal to in- 

The flag has been lowered 

from the signal staff, whose base is seen at the right. In front of it one sturdy 

| figure kneels, fastening the halyard to one of the lanterns which his standing 

comrade holds. Inthe background a leaden sky, swollen with storm, is lower- 

ing on an angry sea whose billows buffet a steam vessel which is coming into 

- port in the teeth of wind and tide, and the two guardians of the coast are from 

_ their serious expressions evidently aware of the gravity of the moment and the 
mt importance of their precautionary duty. 


Signed on the right, Rtnour, 1887. Canvas. 


180 THE SENEY COLLECTION. ae 


tI / ln 99 
: ppo> JULES BETO 


Oe | Brittany Washerwomen 


¥ ? 
; ese % 
& t# 


4. 54X79 


Upon the seashore, where the fresh water of a spring which gushes froma 
cliff at the right makes a little rivulet which flows across the foreground to 
lose itself in the sea, the village washerwomen take advantage of it to make 


its spreading pools a laundering place for their linen at low tide when the 
sands are bare. They are grouped at the centre and left, under the shadow of 
a pile of boulders darkened with sea-lichen. At the left three women kneel at 
a pool, and one beats her wash with a wooden beetle, while the others scrub 
and rinse with their hands. Seated upon the boulders, a girl with a distaff in 
her hand leaves her thread untwisted while with her head turned she watches 
for her sweetheart’s fishing-boat at sea. Atthe right of the group three other 
women are at work at the tiny rill, whose sweet water renders their work pos- ~ 
sible, and the centre of the group is a superb young female figure, a Diana of 
the soil, who, her labor over in advance of the others, stands in regal beauty 
even in her coarse attire, to ease her strong young muscles from bending over | 
her completed task. Inthe right middle ground a girl carries a bundle of 
cleansed linen off to be dried, and under the cliff two other female figures catch 
water for domestic use in vessels at the source of the precious giftof nature. A 
sweep of the coast makes a long crescent behind the washerwomen, whose 
figures are thus relieved against the sea, and a grand and mellow harmony of 


color enriches the composition. 
| Signed at the right, Jutes Breton, 1570. Painted on canvas. 


From the Governor Morgan collection, New York. 


ey ee 


SECOND NIGHT’S SALE. 
| 


Thursday, February 12, at 7.30 o'clock, P.M. 


‘ fn the Assembly a, of the Madison Square Garden. 
Be bot 


. 


I00 


G, JACQUET 


Winter 
Vs} 


144% X11 


a 
‘a are rates toward the left, a charming young girl, with a furred mantle over 


her shoulders, is seen at bust length in profile against a background of blue 
_ drapery. Her face has the rich and healthy color that comes from a brisk walk 
on a cold day. 


aoe 


The sun is already under the horizon, and only faint reflections of its color 
in the sky arerepeated in the sedge-rimmed pool in the foreground. Some 
trees at the left give balance and variety to the foreground. 


Signed in full on the right. Canvas. 


I02 
EDOUARD FRERE 


Baa ea Love %\- wt 


i i f2- wy 
t 1614 x 123f 


’ In a poor room, a widowed mother works as a seamstress, while she 


watches her little child, which sleeps in a wicker crib. The surroundings are 
those of poverty, mitigated by the natural good taste of honest womanhood, 
and the impression of the picture is cheerful in spite of its sad subject. 


Signed in full at the right, 1861. Panel. 


103 
J. A. GRISON 
The Critic 
8x6 


A painter of the seventeenth century has received a visit from a patron. 
_ The great man, gayly attired, is seated before the easel in the studio, com- 
, ah menting severely on the picture upon it, if the expression of his purse-proud 


a _ face may be rightly interpreted. The artist, whose rubicund visage and 


shabby black clothes betoken him to be of a convivial nature, stands, listening 
~ _ anxiously to the decisions of his patron. 


Signed at the right, Grison. Panel. 


104 


G. H, BOUGHTON 


A. 


Going to eaact! ( 


20 X 14 
‘h Puritan maiden has set out from the old grange, whose lodge and park | 
form the oe to traverse the winter fields to the house of worship. 
She carries her prayer-book in her hand. The ground is thick with snow and 
the air is heavy with frost. The type and costume are those of eee at the 
aeped of the Commonwealth. - 


Signed at the left, G. H. B. Canvas. 


ARLEMONT 

¢ 
In the Studio = + 
I4X7 


A young artist of the period in which the Van de Veldes flourished, and 


who might be one of the brothers himself, is seated in his studio contemplat- 
ing a painting on which he is at work. He has his palette on his thumb and 
his brush in his hand. Behind him the light enters through a tall studio win- 
dow, and reveals a litter of books and other odds and ends, and a model of a 
Dutch war-ship on the ledge. 


Signed at the right, E. CHarLEMonrt, ’84. Panel. : 


\he 106 

JOSEF ISRAELS er . 
se : 9 tH Duti Sy\ 
es “4 Home Duties ae 


In the kitchen of a humble Dutch cottage the housewife sits at a table sew- 


1314 x 204 


ing, by the light of a broad window, through which the farmyard is seen. 
Her babe sleeps in her lap with its head pillowed against her breast. An older 
child, dragging a toy-horse by a string, stands beside her looking at some 
chickens that pick crumbs of food from the floor. 


Signed on the left in full. Panel. 


SECOND NIGHT’S SALE. 


CARL MARR 


Sunday Morning 


194 X 1534 


In a village carpenter shop the apprentice boy sits reading on the morning 

of the weekly holiday. A cat and her kittens play among the idle tools and 
the shavings on the floor. Through a large window at the back bright sun- 
light iliumines the many details of the scene, which are painted with elaborate 

- care and realistic accuracy. Outside part of an orchard is visible. 


Signed in full at the left, 1887. Canvas. 


ee A 108 i 
EUGENE ISABEY Mh vi é 4 | st 
On the Jetty g | 3 te 


13 X 19% 


In the middle of the foreground a picturesque old timber jetty juts ou‘ 
‘into a harbor, into which fishing boats and trading luggers are beating to es- 
- cape arising gale. Groups of figures crowd the pier to watch the incoming 
craft. In the middle ground at the left on another jetty is the massive bulk of — 
an old lighthouse, whose lantern has not yet been lighted. 


Signed in full at the left. Panel. ity 


109 


CHARLES E, JACQUE 


The Hillside Pasture 
QX 14 


On the slope of a hill rising toward the left and dotted with stunted olive 
trees a shepherdess is seated. Her sheep browse along the hillside at the 
right. In the distance the slope of the country reveals a plain brightened by 
the sun, which leaves the foreground in shadow. 


Signed in full at the right. Panel. 


IIo 

LUDWIG ~ af 

The coma WK 
12144 x 10 


Facing toward the left,a piquant beauty of the last century conducts a 
flirtation, with any one who may look at her, with her fan. A smile lights her 
face, and the rose of invitation is in her hair. Her rounded neck is set off with 
-a black velvet band that gives substance and brilliancy to its pearly and warm 
flesh. teat Be 


ae Signed in full at the upper right, 1889. Panel. 


oe (eed III 
My ce 
Bear Qe ‘THOMAS COUTUR 


Liberty in Chains 


14 X 1044 


One of the most magnificent allegories which the artist produced. The 
poet and the patriot, shackled hand and foot, is a prisoner ina palace. His 
brow is crowned with worthless bays, and a laurel wreath wilts and rots on 
_ his idle lyre at his side. On his other side, an overturned vase disgorges the 
polluted gold of bribery at his manacled feet, and an urn overflowing with 
the ripest fruits of abandonment seduces his appetite. Sombre and sad, hesits 
alone with himself among these corrupted and corrupting eda an 


incarnation of the noblest human mentality laid in chains. 


Signed at the right, in the centre, T. C., 1867. Panel. 


II2 


R. SWAIN GIFFORD 


Midsummer, Dartmouth 


12 X 24 


is putting her household linen down to bleach. At the left, under an um- 
brageous group of trees in the middle plane, is a farm-house and its out-build- 
ings. The open plane on the right gives a view of a strip of sea to the horizon. 


Signed on the left in full. Canvas. 


iz | 
er Hen 


The foreground is occupied by a level and grassy field, in which a woman 


A. VOLLON 
; On the ae nae 
16x WN 
The scene is on the Seine, upon the lower river, where the stream accom- 


modates the needs of the great manufacturing industries that cluster about the 
city of Paris. The high left bank is crowned by factories, whose lofty chimneys 


belch smoke against the sky. Under it some boats and barges are moored. 
The right bank is covered with bushes, a lingering remnant of the country 
which the advance of the great town is steadily stamping out. A boat and 
boatmen are seen on the river. 


Signed on the right in full. Panel. 


114 
GUSTAVE COURBET ane 


ys 
A Norther 


20 X 24 


| A beach of shingle crosses the foreground. At the left a boat is beached. 

. The sea breaks on the strand in massive rollers. Across the horizon from the 
le right the peculiar, sinister clouds which prelude a storm from the North Sea on ~ 
‘| the French coast roll in sullen solidity. 


fl | Signed in full at the right. Canvas. 


I ar ntiiiied 


D. W. TRYON 


Moonlight 
20% x 3134 


_ In the centre of the picture the moon, which is nearly at full, rises brightly 
= = inaclearsky. Her light, diffused through the landscape, brings its larger de- 
tails into visibility out of the obscurity in which the smaller facts of nature are 


es; | lost. At the right foreground is a haystack. ‘Behind it a house shows, witha 


| 
| 


a _ light in its window, and the dark bulk of a barn. This picture received the 
Gold Medal of Honor at the American Art Association Exh ibition, 1887. 


Signed in full at the right. Canvas. 
ai 

oe E10 oe 

&. GEORGE INNESS 7). 


e I 


3 


Twilight 


24 X 30 


left a portion of a tall tree is shown. Beyond the brook is a meadow, in which 
lofty trees rise on the right, while in the middle ground crosses the rich foliage 


+ 
j 
i 
§ 


A brook with rushy banks traverses the foreground, and at the extreme / 6 \ 0 


_of a park, amid which the white summit of a stately country house may be dis- | 


cerned. Cattle seek water at the creek and graze in the meadow, , ‘e 
Signed in full at the left. Canvas, : 

"1 

| 


eA 


THE SENEY COLLECTION. 


117 


G. MICHEL 


ane 


The Old Oak iP 


vi 
Aaa 


17% X 23 


In the foreground is a dead oak tree, whose smaller branches have long 
since fallen the prey to decay. At its base is the trunk of another, which has 
been felled by the woodcutters. A grove of stunted oaks fills the middle 
ground, and through their trunks on the right is visiblea landscape perspective. 


On the left a woodcutter is entering the grove. 


This picture, like many of Michel’s studies from nature, is painted on paper 
and mounted on canvas. ; 


118 


JOHNSON-WHITTREDGE 


Sunday Morning 
1514 x 234% 


This picture is the joint production of two artists who are distinguished 
members of the National Academy of Design of New York. It shows the in- 
terior of a New England kitchen. This portion was painted from nature by 
Mr. Whittredge. Into it Mr. Johnson has introduced an old farmer in his Sun- 

_ day attire, who, sitting at a table under the window, reads from the family 
Bible to his wife. os 


Darah oh The picture is signed at the left, ‘‘ W. Wuitrrepcs, figures by Eastman ; 
Jounson,” and is painted on canvas. 


IGHT’S SALE. 


~ 


The Attack 


16x 214% 


* 


; A party of Arab cavalry are attacking acastle. The horsemen gallop out : 
s of the foreground on the right, under a heavy fusillade from the fortress, whose - 5 aa 
walls extend in perspective from the left. Wild confusion, rendered more con- bea 


fused by the smoke of the fire on both sides, gives the scene its spirit and ae 
_ movement. Be: 


ie ach Signed in full at the left, 1887. Canvas. 


A. MAUVE 
Home to the Fold ee 


21's X 31% 2 / 2 é a 


A shepherd in a blue blouse, assisted by his dog, is marshalling his flock 
home to the fold from the pasture. The sheep are crowding in at the open 
door of the stable on the left. In the distance, a cold and rainy sunset fades in 


; the sky behind a horizon of trees,and the landscape is wet with recent } 
showers. Al 


Signed at the right in full. Canvas. 


on 


_ THE SENEY COLLECTION. 


lA 


< 


Poulet 7 
H. LEROLLEws Weve 


Watching aad Migs 


24 X 20 


ri Night has fallen, and the good man has not yet returned to the farm- 
ie, alae house from the fields. The two women of the house have come outside the | 


i door to watch for him, one of them with her baby in her arms. They stand in 
the road side by side, striving to penetrate the darkness with eyes sharpened 
by anxiety. The rising moon just peeps over the summit of a hill which 
forms the horizon, and over which passes the road by which the absent man 
must come to those who watch and wait for him. 


Signed on the left in full. Canvas. 


I22 


L/ 
‘ jo" 
a CHARLES H. DAVIS 


i} 


The First Frost 


20 X 27 


The first frost has come during the night. Its rime whitens the earth in 
the chill glow of the early morning sky. The trees of the orchard in the fore- 
ground have been touched by it, and the whole portents of the season have 
been seized upon by the artist with subtle skill. 


Signed in full at the left. Canvas. 


Pas ok ihe SECOND NIGHT'S SALE. 


- _EDELFELDT met 
v W. yyy Ae 


hn Interesting Book 


15 X10 


A lady, in a white house-gown, is seated in an arm-chair. She holds the 
latest instalment of a new) movel in her hand. Another young woman, ina 
blue zeglige, sits on the arm of the chair and listens as she reads. The scene 
-is enacted ina handsome room, and at the left a mass of flowers show in a 
_ brazen jardiniére on a table. 


Signed in full at the right, 1888. Panel. 


124 jie 
: J. C. CAZIN A & 
-The Full Moon | 


21X25 


It is a bright and luminous summer night. At the right stretches a wide 
and level plain, portions of which have been recently furrowed by the plow. 
A road passes on the left into the distance toward a village, which is visible in 
the middle ground, and in one of whose windows glows a solitary light. The 
moon rides high in the sky toward the right, and the whole scene is one of 
perfect placidity and repose. 


Signed in full on the right. Canvas. 
13 , 


3 a : 


THE SENEY CO 


A. H. WYANT ~ 


A New England Landscape 


18 X 30 


Early autumn is commencing to color the thickets and rob the grass of its 
vivid green. In a stony and briery foreground some cattle forage for food. 
A spacious distance reveals far away the smoke of burning brushwood on a 


farm. 


Signed in full atthe right. Canvas on a panel. 


126 


A. VOLLON 


« 


On a table are grouped some fruit, with a porcelain dish, a blue bottle in 
brilliant underglaze, and a gilt ewer, painted with large and firm execution 
against a dark background. 


Signed in full at the left. Canvas. 


ss SECOND NIGHT'S SALE. 


fey 
ONSTANTINE TROYON [ re 
Sheep 


tee p 


+ : 13 X 16 


In the centre a fine, well-fleeced old sheep stands, looking toward the 
right, and almost in profile, at another, which is seen to the right, almost in 
full front. A gray, rainy sky and a Jow-toned, level landscape form the back- 
ground. The execution has the accuracy and force of a careful study from fee 
“nature. y } ii = 4 
Stamped at the left with the official stamp of the Troyon sale, held after = 
- the artist’s death. Canvas. 


128 


C, F. DAUBIGNY 


The First Catch 
) 134% x 22% 


At the left a verdant bank crowned with trees ascends from the water. 
On the right the remoter bank of the river, which makes a turn in the middle 
ground, iscovered with bosquets of bushes. At the left bank a fishing-boat is 
‘moored, and a fisherman is landing the first catch out of his net. A flock of 
ducks on the water are just setting out in quest of their morning meal, and 
early morning brightens the luminous sky. 


Signed at the left, Dausiany, 1873. Panel. 


N. V. DIAZ 


~ (e 
Evening dy. 


9% X 17 ae 


Ina plain dotted with trees cattle and figures are seen in the foreground. 


The sun is setting and its last rays harmonize sky and landscape. 


Signed in full at the left. Panel. 


) 


130 p , 
JULES DUPRE or sf ot 


The Braoe Ore : 


16 X 32 


A shepherd is driving his flock to the brook for water. The sheep appear 
over the bank toward the left. At the right are some slender trees. Theshep- — 
herd, on the bank in the centre, is calling up the stragglers of the flock. 


Signed at the left in full. Panel. 


SECOND NIGHT’S SALE. 


131 


C. F, DAUBIGNY )” “4 aay b CO 


A Village on the Oise 
14 X 22 


On the summit of a oe river-bank at the right, the roofs and walls of 
the village are seen above and along a stone wall, lighted by the sun in broad 
masses. A flock of geese waddle up the bank from the water, and a figure is 

’ engaged in some employment at the margin of the stream. At the left, the 
other side of the river shows a rustic landscape, with trees. Onesofthreshan- 


Signed at the right, DauBicny, 1875. Panel. 


Tab Ce COROL 


Near Ville d’Avray d,. cok 


16 x 214 


Trees shadow the right of the foreground, whose turf is bespangled with 
spring wild flowers. The cool waters of a little lake make a mirror in the 
middle plane for the shimmering sky. In the background are seen some hills, 

__ with houses, and the figures of three peasants give life to the first plane. 


Signed at the right, Corot. Canvas. 


as 


133 


A. G. DECAMPS_ 4 
8 
The Sentinel _ ah 


i 


10% x 7% 


At the doorway of a pasha’s house two soldiers are on guard. One, a 
gray-bearded veteran, sits in the shadow of the portal on the step. The other, 
at the left, a stalwart young Janissary, stands erect against the wall, with his 
long gun in his hand. The sunlight of midday makes a mellow play upon 
their figures in the lights and shadows of the palace wall. i 


Signed at the right centre, DEcamrs, Canvas. 


E, FROMENTIN pave 
The Wheat Harvest” 


13 X 22 


\ A picture of the time when the artist had not yet devoted himself to per- 
petuating the glories of Oriental life and scenery. It shows how he was 


originally influenced by the example of Millet until he found his more individ- 


ual and original method of expression. The subject, evidently drawn directly 


from nature and painted on the spot, shows peasant women in the open field — 


sheafing the wheat or gleaning the stray stalks that have escaped the harvester. 


Signed in full at the right. Canvas. 


eel: Z cu ai 


_ SECOND NIGHT'S SALE. 


“ 


The Fisherman’s Family 


19% X 26 


On the beach in the foreground at the left, the children of the fisherman 
make a group beside part of their father’s latest catch, which has been tossed 
upon the sands. Behind them is a beacon post with its box in which the lan-~ 
tern burnsat night. Fishing-boats are seen in the middle ground, and the 
scene is brightened by a cheerful and peaceful sky. 


Signed in full at the right. Canvas. 


136 


GEORGE INNESS 


w 


Sunset 
1644 X24 


The sun is setting at the left of the picture with final flashes of color in the 


rifted clouds. The distance is a wilderness, already dim with the rising mists 
of its streams and the falling twilight. In the middle ground at the centre a 
sheet of water shows. The foreground is a grassy bank, dipping in the centre 
and rising at either side, with a fallen tree and brushwood, and the scene is a 
typical episode of the wildernesses of Northern America, seen at the most pict- 
uresque period and under the most poetic circumstances of effect. 


Signed in full on the right, 1888. Canvas. 


THE SENEY COLLECTION. 


137 


F, D. MILLET 


The Flower Girl 


20 X 16 


She is seated facing toward the right, and with flowers on a table before 
her and in a basket in her lap. Her figure, which is seen at half length,has 
the supple grace of youth, and her face is crowned with a wealth of golden 


hair. 


Signed in full at the right, 1886. Canvas. 


138 
A. MAUVE. , 


Evening Twilight V 
22 X 30 


At the left the farmer’s wife, with her baby in her arms, has come to the 
door of the cottage to call her husband to his evening meal. Heis still at work 
weeding out a vegetable patch in the middle ground. On the right of the pict- 
ure is a paddock and a haystack, and between it and the farm-house passes a 
road which loses itself up a rise on the ground fringed with shrubbery and 
trees. The time is the early Summer season, when to secure a favorable harvest 
the cultivator of the soil must spare no toil nor lose a moment of the time 
available for labor. 


Signed on the right in full. Canvas. 


jae 


- SECOND NIGHT'S SALE. 


. «+c 


JULES LEFEBVRE A 


Fatima 
21% x 18 


The portrait ofa handsome Oriental woman seen at bust length, with the 
ta face in three-quarter view! turned toward the left. The heavy black hair 
# which falls upon the shoulders is confined above the forehead with a circlet of 
— ; E silver wire hung with silver coins. Large gold hoops are in the ears, and 
‘ around the neck is a necklace of coral and beads. A robe of blue cloth with 
B _gold embroidery covers the shoulders, and the background is a light tapestry, 
which gives the bold and spirited head a strong relief. 


Signed on the right, above the shoulder, in full, 1888. Canvas. 


T40 


é 


CHARLES E. esa 


Stormy Weather 188 


16 X13 
( 

A shepherdess is driving her flock home before a rising storm, which 
shows in sullen gloom in the sky. The flock passes across the canvas, while 
the dog, behind its mistress, calls up the stragglers. Some trees at the left of 
the picture make a bulwark for the animals against the driving blast. 


Signed in full at the right. Canvas. 


THE SENEY COLLECTION. 
: abs F 


or 


EASTMAN JOHNSON 


The Bath 


22x 26% 


Ata purling spring in the woods a young mother is about to bathe her 
babe. The little fellow has been disrobed and stands on the margin of the 
spring supported by his mother, who lies upon the greensward, laughing at | ae 
the timidity with which he views the water. At the right an elder sister of the ; 
hero of the occasion, with her sleeves turned up, sits ready to assist in the puri- 2 a 
fication of his sturdy little body. 


Signed in full on the left. Canvas. 


\ 142 e : 
Oak Ji aw ee ‘. 


¥ 


— "The Sailb i\\ AS ay 
e Sai oat <s A a 


22x 13% : chy 


. 


The two little barefooted daughters of the fisherman have made a sailboat 
out of one of their father’s worn-out wooden shoes, and are floating it in the 
back-water of thestrand. Behind them the breakers boom upon the sands. 
In the shallow pool their humble galleon is afloat, and they watch its progress 
with eager and interested eye, each clasping the other to her side. 


Signed at the right in full. Canvas. 


P. Eee J. ee eV ERET j 
l 
The Brigand Ns 53 ie 


20 X 16 % 


He stands in the doorway of a low tavern, with his cloak over his shoul- 
- ders, a powerful ruffian alert for attack. His truculent expression indicates 
the approach of possible danger, and the desperate resolution to meet it to any 


_ extremity of resistance. 


Signed on the right, P. A. J. Dacnan-B., 1882. Panel. 


144 


ie Ce CAZIN 


On the Hill 
2514 X 32 


At the right are houses and a garden, of the form of construction and com- 
bination of color which the artist finds such pleasure in painting. Trees are 
on the left. One of the painter’s most successful examples of his ability to 
convert the simplest material into a picturesque and artistic totality. 


Signed in full at the right. Canvas. 


. aig 0 4! rf 


‘THE SENEY COLLECTION, _ 


WILLIAM M. CHASE ~ 
Still Life 
23X14 


A group of grapes, apples, a partially-peeled lemon, and other fruit on a — 
table with a tall jug. Harmonious in its arrangement of color, and ofa broad 
and firm style of execution. 


Signed in full at the left. Canvas on panel. 


146 


G. H. BOUGHTON 


Tam O’Shanter 


20 X 30 


By the pallid flash of the lightning the hero is seen flying across the bridge — 
pursued by the demons of the night, with whom the whole air seems peopled. 
It is the critical moment of the story as Burns sings it in his immortal ballad. 
The evil spirits have no power to cross a running stream, and Tam’s gallant 
gray mare has passed this Rubicon j ust in time. The fantastic movement and 
spirit of the story are seized upon and illustrated with surpassing spirit. 


Signed in full at the left. Canvas on panel. 


147 
CONSTANTINE TROYON 
| S 
The Red Cow ,j- 
37 % 29% 


A powerful study from nature of ared cow. The animal is seen in a wide 
stretch of open country, and wears a halter, as if it had recently escaped from 


a paddock or stall. The color is low in tone and the technique exceptionally 


vigorous. ; 
Painted on canvas. Bhs 


148 


The Brute iinplace 


32% x 16% 


ba re 


In the middle ground, on the margin of a wood, is the tent of a gipsy band. 
Behind, at an opening in which the sunset glows, some horses graze. In the 
foreground a gipsy boy rides a gray horse into a pool to drink. The animal 
advances down a slope toward the left, with its rider perched upon its back in 
an attitude of easy confidence. 


Signed in full on the right. Canvas. 


i" 


THE SENEY COLLECTION. — 


The Canal of Chioggia, Venice 


a4 x 314 
Rear 


The view is from the point where the Chioggia debouches into the Grand 
Canal. At the right foreground are houses and boats of various characters. 
Across the broad and placid waters of the Grand Canal is seen the Place of St. 
Mark. with the Doge’s Palace, the cathedral, the campanile, and the facades 
of the palaces along the canal. Gondolas, trading luggers, and fishing-boats 
ply upon the water, and from the right hand the flush of evening illumines and 
warms the scene with a splendor of roseate gold. 


‘Signed at the left. Panel. 


: The Old Oak Tree 
D | 
104 x 13% 
‘In the centre an aged and wide-reaching oak tree shadows a road on the oa 


right, and a house whose wall shows beneath its foliage. An openifig at the 
right reveals a distant landscape. Strong color and a rich tone combine in 
powerful unison. 


Signed in full at the left. Panel. 


i 


mr 


a 


2 


a 
ge 


eo 


os ght 


SECOND NIGHT'S SALE. 


I51 
-CONSTANTINE TROYON 
The Storm 
1114 x 18 


_ On the right is a river, with a house among willow trees, and a boat. At 
the left cattle graze, and in the centre are two figures. In the distance, toward 
the right, a wharf and some boats are visible. A storm darkens the prospect, 


_and gathers power for its onset in the sullenly clouded and boisterous sky. 


Signed at the left, TRoyon. Canvas, — 


we | 


C. F. DAUBIGNY 


On the River Oise 


14 x 26% 


_ The richly grassed bank, rising on the right, iscrowned with trees. Inthe 
right foreground are some cows, and figures are visible on the river bank. 


_ The placid water reflects a warm spring sky, and the farther shore and distance. 


are illuminated with the tender radiance, while the foreground is left in shade. 


Signed at the right, Daupicny, 1865. Panel. 


( _ JULES DUPRE © | 
In the Cann | . 
Z Re Tee 


19 X 12 | 


Fishing-boats and trading luggers are being buffeted by a Channel sea on ww 
asqually day. The sky is full of wind and the sea full of movement. A little J : 
fleet of boats are scudding to right and left, and evidently preparing under the AS 
menacing sky for a return to a safe harbor. ; 


Signed in full at the right. Panel. 


N, V. DIAZ 
cc The Sultana 
8x114 


A young princess of the Orient, splendid in her rich habit and her gems, 


idles an hour away in the garden of her palace. It is midsummer, and all na- 
ture smiles in the sunlight, from which the Sultana has taken refuge i in the 
shade of a myrtle bower. 


Panel. 


Signed at the left, N. Daz, °6s5. 


155 


aon. oicall 


In the foreground of an opening in a grove of nut-trees, figures are en- 

ee gaged i in gathering the alles nuts. In the middle ground, others are shaking 
a tree to bring down its fruit. The grove closes in the scene with a wall of : 
green, through a break in which, on the right, a gleam of light is visible. The 

sky above the trees is bright, with gray clouds. 


Signed on right, Coror. Canvas. 


- 


156. 
GEORGE INNESS 


October 


22X29 : 7, f. 


an opening in the centre,a deep, rich blue sky makes a spot of harmohious 


color. At the left is the figure of a man in a blue shirt, who is traversing the 
wood. 


Signed at the right in full, 1886. Canvas. 


157 mt a | 


EUGENE FROMENTIN 


The Meeting for the ae 
I x i . 


A hunting party of Arabs assembles in an oasis of the desert. On thevleft 


the early arrivals saddie their horses and prepare to break up their bivouac. 


_ From the right the late comers advance, with huntsmen, hawk, and hounds. 


A mounted cavalier of the first party, with his long gun across his pommel, is 


seated on his white Arabian steed in the centre, and his favorite hound is be- 


side him. He exchanges a greeting with the leader of the later party, who 
carries a hawk upon his hand. The meeting occurs in a grove of stunted 
trees, 


Signed on the left in full. Panel. 


158 
~G. BOLDINI 


After the Bath 


934 X 13% 


In the centre, the favorite of the harem enjoys her siesta after her bath, 
stretched luxuriously on her rugs and cushions. At the right a nude Ethiopian 
slave gathers together the linen. On the left a macaw pecks at some fruit on 
the floor. A passageway at the left gives a view of a tropical garden. 


Signed at the left, Botp1in1.. Panel. 


_ 


oS i em \ fh I 
‘ye's! Ae ON Aner rs \ We Me aI A S Sle 19 ne 


= 


Billeted on the Enemy 


2x8 


A Prussian soldier, who has had his billet assigned to him in a conquered 

country house, sits on a tablé, smoking his pipe, with a wine-bottle at his side, 

4 waiting for his reluctant hosts to direct him to his compulsory lodgings. The 

. ; ; house has evidently been either plundered or bivouacked in. Broken wine- 
$; bottles litter the ground, and the room shows signs of great disorder. 


Signed in full at the right, 1876. Canvas. 


160 
LUDWIG KNAUS 


> Ww 
* Fe 
” fz 


‘The Invitation 


8x6 


4 Seated against the wall of a village ball-room, a Bavarian country-girl, in 


_ gala dress, invites a partner to the dance with the rose which she twirls in her 
_ hand. Her demure attitude of assumed repose, and the coquettish action of 
her hand, are in admirable contrast and spirit. 

/ 


Signed at the left, L. Knaus, 1888>~ Panel, 


I5 X 22 


Sy the extreme left a peasant woman. is driving some cows in a straggling et 
procession along a forest road. The color of autumn in the foliage is made 


splendid by the golden glow of the descending sun, which makes a burst of — Es ; 
light in the distance, through the leaves, leaving the foreground in shade. Bs, 
A picture remarkable for its fine and harmonious color and its freedom of 7 
execution. : cae 
; r 
Signed in full on the left, Panel. , : 
| ee Fade Zé e 

Sets a ‘ROUSSEAU h- Clee 
ge ) ih v} tN ae , : 
RY NV‘ Evening ry ae 
. } Ri ‘ 
ae : 
8 rd } 
134% x 8% y 
Through the close-set stems of a wood, the warm color of a sunset sky is a 
seen. The shades of evening already darken in the wood itself. At the right y 

a little brook threads the forest. The left foreground is a grassy rising 
ground, across which a figure passes as if to enter the wood. : tee 

m : Signed in full at the left. Canvas, 

\3 


C. F. DAUBIGNY We pe i 


| The Crane Covert 
ly 


124% x 214 


At the approach of evening, the cranes have returned to their favorite 
haunt. They are seen in the shallows of the stream which makes its winding 
course from the left of the picture, composing themselves to the rest of secure 

solitude as the last glow darkens in the sky. The middle ground and distance 
show a rolling country, whose undulations are broken by scanty vegetation. 


Signed on the right, Dausicny, 1872. Panel. 


ee ot K, 


ERSKINE NICOL Nv r, 


24% x 18 


A brawny rural tenant, who has handed in an appeal of some sort to the 
squire, waits in the hallway while His Honor, in the parlor beyond, peruses’ 
the letter at his leisure. The applicant stands in a half doze, resigned to any 
fate that may come to him, and patient to await its announcement. The types 
are Irish. 


Signed, E. Nicot, A.R.A., 1869. Canvas. : 


165 
ae ALFRED STEVENS 
Meditation ma 


27 X 20 


: A female figure in pink, with black hair, is shown at half- Jen cee She 
rests her head on her right hand and her left hand upon the right arm. © Ared - 
drapery gives delicacy to the color of her dress and brilliancy to her complex- 
ion. ' 


Signed in full at the left. Canvas. 


HL LEROLLE- 
Bringing Home the Flock 
seeah 


A shepherdess is leading her flock homeward at sunset through ¢ a field 
where the harvest has been gathered. Clouds darken the last at hay SK the esky. a 


167 
H. BOLTON JONES 
September 
221% X 35% 


In the right foreground is a pool fringed with rushes. A hillside of turf 
with croppings of stone ascends to the left, and is traversed by a low stone 
wall. Over the dip of the hill at the right a glimpse of distance is seen under 
a sky with rolling clouds. 


Signed in full on the left. Canvas. 


168 | 
GEORGE INNESS es 7 a / 4 


y 


A Virginia Sunset gee 98 g a 


30 X 45 


Scattering trees occupy the foreground. Beyond them is seen a forest, 
among whose bare branches gleams the brightness of the sunset sky. At the 
right, in the middle plane, is a cabin in the woods, and a woman is advancing 
toward it out of the foreground. A pool at the left catches a faint reflection of 
phe sunset color, and the ground is whitened with frost. 


Signed to the left of centre, G. INNEss, 1889. Canvas. 


p-G 1-27-65 #26 Reep- 


THE SENEY COLLECTION. 


169 


G. JACQUET 


i 96 ¢" e 
oye 


Roused from Reverie 
. 213, x 18 


Suddenly aroused from reverie, a charming woman looks with her full face 
out of thecanvas. An expression of inquiry is in her eyes. Her left hand 
rests upon her breast, as if to hold together the folds of a fichu of white lawn 
which is draped over her shoulders. The figure is seen at bust length. 


Signed at the left in full. Canvas. 


17 


yo sd See wana & hs 4 


i 2 te Nite | , 28 
2xlZ X 20 


Her figure is seen at half length, with a green forest for background. Her 
face is of a delicate and refined classical type, and her brown hair, which is Z 
bound with a fillet above her brow, falls in wavy tresses over her shoulders. oe 
Her face, as she touches the strings of an inlaid lyre, has an expression of ten- | 
der rapture, as if responsive to the strains her fingers evoke. The figure is 
shown in half shadow, and the picture is of a low key and harmonious in color. 


Signed on the left, E. H. Canvas. ‘- 


SECOND NIGHT’S SALE. 


a ae | VE /oo1ps 
AUGUSTE BONHEUR We 34 0} 


Morning i in the Highlands 


2814 x 39% 


The mists of dawn have arisen from a Highland lake, and wreathe among 

the crags and peaks that environ it. In the foreground a flock of sheep are 

gathered on a jutting point, where, having come down for water, they await 
the return of the protecting shepherd in humble patience. 


Signed in full at the right. Canvas. 


: 172 


PIERRE BILLET oan ll 
a ae o i) Y f 0d 4 
The Mussel Gatherer ar 


7 26% x 21% 


- _ Astalwart young woman, barefooted and coarsely clad in a short sxirt of 
red cloth, is awaiting the fall of the tide, seated on a boulder on the sea-shore. 
The basket which she has brought to carry the mussels she is in quest of 

-rests inverted on the stone, and she props her right elbow on it to support her 
head, while her left hand is planted on her hip. The sea behind her is bathed 
with the roseate flush of an afternoon that draws toward its close. 


“ Signed at the left in full, 1886 Canvas. 


- 
~ 
bak 3 
» 65s) ov 


THE SENEY COLLECTION. 


x 


173 
J. G. VIBERT 


An Art School 


24 x 18 


In the foreground, at the left, the model is seated, with his legs crossed, in 

a chair upon a podium. He wears the full uniform, red and blue, of a 
French guardsman of the period of Louis XVI., and smokes a long-stemmed > 
clay pipe. His figure is powerfully lighted by the gas concentrated upon him 
by two reflectors. The litter of a studio fills up the foreground. Across the 
middle extends a line of students, who draw and paint from him by the light of _ 
lamps, which are shaded with paper so that they may not radiate their rays. . 


Signed in full at the right. Panel. 


174 


ADOLPHE SCHREYER 


\ 


On the March 


26 X 34 


‘A war party of Arabs is about toford astream. The leader of the advance 
guard, a grim and sinewy veteran of many forays, reins his black horse up at the 
ford to call back a direction or warning to.the rest. The commander, wrapped 
in a white burnous, rides haughtily in the van of the main body, followed by 


his standard bearer and warriors. 


Signed in full on the right. Canvas. 


175 


ALFRED et is 


On the Coast vate 4 
290% X 22 


_ The children of some poor toiler of the sea are shown upon the shore. 

__ The girl leans upon a stout staff, while her little brother presses against her, 

_ staring in wonder, not unmixed with fear, at some object unseen to the spec- 

tator, The pair are returning from some long and weary errand, and the 
girl has rested the large bundle she has been carrying on the ground. 


Signed in full at the left, ’83. Panel. 


176 


H. SALMSON 


The Philosopher 


29 X 21 / 09. 5 | 
A little child of the sea-shore has come down upon the beach to await the 70) ee 
incoming of his father’s fishing-boat. He is a sturdy urchin, with an intelli- 


gent, tow-haired head, and a color made rich by sun and wind. He wears the 

_ miniature costume of a sailor, a blue blouse, and breeches of a similar color 
that leave his strong little legs bare ; and stands in the balanced attitude, per- 
haps instinctively assumed, of a seaman on the deck of a vessel at sea, 


Signed on the right in full. Canvas. 


177 


ADOLPHE ARTZ. 


Evening 


26 X 36 


Weary of along trudge over the sandy path, an aged woman has seated her- 
self in the shaggy grass. She rests with bent head, her staff in her left hand, 
a picture of exhaustion and feeble old age. A little girl, standing beside her, 
looks wistfully toward the distant village, whose church spire rises out of the 


coming over the earth, as the evening of her life has fallenonher. 


~ 


Signed at the right, Artz. Canvas. 


z E 
7 Ae nw * 
sf 


la a4 178 a 
ew ae AN ote 


VA fi-B. € C. COROT 


a “rt Bathing Boys ) 
26x 21% 


In a shallow stream sheltered by trees and thickets, and dotted with the 
leaves and flowers of the water-lily, village urchins are bathing. While they 
splash in the water, in the full enjoyment of its refreshing coolness, a sturdy 
youngster at the right watches, with a stick in his hand, against possible in- 
terruption. 


ie Signed at the left, Corot, 1840. Canvas. 


plain. It is yet a long journey thither for the grandmother, and evening is — . 


23% X 31 


>, The harrow, drawn by a team composed of a white and a brown horse, 
ee is guided by a blue-bloused farm laborer. It breaks a rich, dark soil, that 
promises a fruitful crop. Strong color and powerful execution. 


Painted on canvas. 


& 180 
é 
; ry N. V. DIAZ 


Le Temple de !l’Amour Ht - 


p+ 7 
ri 27 X 15% | y 


. In the myrtle garden of the Temple of Love, two cupids are enticing a fair 
#3 young victim to the sacrifice with competitive allurements. Her figure is 
b nude to the hips, from which a red drapery descends to the ground. She 
4 ; stands in the centre, in a pensive attitude. On a flowery bank at the left, one 
Me cupid whispers his temptations in her ear, while at the right, on the ground, 


another impatiently calls her attention to his rival enticements. In the back- 

ground, the marble portal to the Temple into which the puzzled girl is being 
oe 

invited shows against the rich, blue summer sky. 


Signed on the left in full, 1857, Canvas. 


THE SENEY COLLECTION. 


28 X 41 


The family are gathered at dinner in the kitchen of the farm. On the 
right the father sits at the head of the table, with his sabots, which he has 
removed to ease his feet, weary with labor, on the floor near his chair. At the 


BN _ Opposite end, the mother serves the porridge. Two children sit with their 
backs to the spectator, and facing them, on the opposite side of the board, is 

* the baby in its tall chair. Beside the father the family cat sits contentedly 
near the bowl in which she has been given her share of the frugal feast. 


Signed in full at the left. Canvas. 


182 


‘GEORGE INNESS 


The Coming Storm 
30 X 45 | ae 


“‘ tt 

ae. driven by the wind from the left are obscuring the sky andshad- 
b . “owing Ne ndscape. The scene is a wide meadow land, with a pool of water ace 
it the right of the foreground and a clump of trees in the middle plane. Frost 


¢-hag already touched the vegetation and given variety to its color, 


Signed at the right, G. Inness, 1888. Canvas, 


_ SECOND NIGHT'S SALE. 


183 
LUDWIG KNAUS 


| Thoughts of Better Days 
30% x 22% 


Seated on his pallet in his garret home, a poor old man makes his break- 
fast off black bread and dried fish. His venerable and intelligent face denotes 
hima man capable of bringing philosophy to his support in his hours of trial. 
His hat at his side and his staff show him ready to set out for another day’s 

toil for a meagre subsistence, and the whole picture is a sympathetic and col- > 
orful idyll of the life of the poor. 


Signed in full at the left, 1888. Canvas. 


4 


/ 
/ 


W. L. PICKNELL 


November 


24 X 38 


Under a chill sky, portentous of snow, crows forage in the ba ag 
deserted fields which make the foreground. A group of oak-trees in the oy a5 
middle distance, denuded of foliage, interlace their gaunt branches against the 
lowering clouds. In the distance, a few lingering autumn tints still rai 


1 tone / | 
Gh 
W 
{ 
: 


| 
_ the season in spirit and effect. fi : 5 iy 
a 
|| 
| 
| 


landscape, which constitutes a picture of typical American scenery, faith 


Signed in full on the right. Canvas. 


Syy28 — . wv 
if vv - A, EDELFELDT _ N 
The Last Passenger ae 


26 X 33 


| 


home at eventide in their boat. They row up to the shore to take on board a 
little girl, who forms the last of their party. The boat, with three figures in 
it, is seen at the left. The last passenger stands on a rock in the water at the 
right. Over the quiet water, illuminated by the last rays of the sun, the moon 


sheds a silvery gleam. 


Signed in full on the right, 1884. Canvas. 


186 


ALEXANDRE CABANEL 


Rebecca 


"toe a 


Rebecca, in the centre of the picture, leads her fleecy flock down from a 
craggy background. The golden glow of evening slumbers in the sky behind 
her. She carries over her shoulders a light switch as an emblem of authority. 
She wears a simple white robe with a colored scarf over it, sandals on her bare 


feet, and a flower in her hair. 


Signed at the left in full, 1884. Canvas, 


Some girls who have been picnicking in the woods are about to return © 


ME ee Pe Pe ee 
SECOND NIGHT'S SALE. Doe 
187 ; ’ ] 
CONSTANTINE TROYON , sey Ee 


Entrance to the Wood 6 Bae ee 
| K' x 1004 
2834 x 23% : | 4 


On the left at the entrance to the forest some wayfarers rest upon the rich, 


{ 


’ green turf. A manon horseback, who is about to enter the wood by a road on 
the right, calls to them. He is seen under a branching old oak tree whose foli- 
age, like that of the thickets and forest, shows the season to be autumn. 


Signed in full at theleft. Canvas. 


+ 188 


: ~~ 
~ 
ee ee (Cr COROT y pose = 
t Y \ Vv 4 Saeed 
v S 
Oak Charlemagne i 
x ~ 
‘ eS 
Ds. | / 
4 184% x 25 f ti ‘ 
4 fi 
7 ; At the left an umbrageous group of trees shades the ground, and at t 
a base of the largest, a massive oak, a peasant woman picks mushrooms in the 
ee grass. In the centre two women gossip as they driveacow. In the distance 
« ; a stream of water crosses a far-reaching landscape. 
q — This picture bears the double signature with which the artist was accus- 


tomed to distinguish works with which he was especially well pleased. Onthe 
right is Coror, and at the left the date, 1870, It is painted on canvas, 
rs 


226 THE SENEY COLLECTION. 


ott 189 


C. F. DAUBIGNY Ho g8 eae 


The Washing: pant 


1334 X 23 


On the left at the brink of a river, to which a grassy bank slopes from the 
right, some village washerwomen are at work. The bank is crowned with 
trees, and on the farther shore a line of trees rises against the distant hills, 


Signed, at the right, Dausicny. Canvas. 


| > oe 190 


ae J. L. E. MEISSONIER 
“ ‘ Gy t Ake Gord 


_ Bow! Players in the Fosse at Antibes 


a fn 1734 X 30 
a 


Under the walls of the old Vauban fortress, which extend in a perspective 
broken by their bastions, from the left, the experts of the town are indulging in 
the favorite gameof the Provencal athlete. They form various groups along 
the dry fosse, some playing, others discussing the game, and others looking idly 
on, and the many figures are full of vivid life. At the right, in the road, aris- 
tocratic spectators look on from a carriage. A clear and sunny sky gives the 
i sharp, dry brightness of a perfect day in the south of France to the scene. 
-~ This picture, which is one of Meissonier’s favorite and triumphant experi- 
ments at difficult effects, is from the Secretan collection, sold in 1889. 


Signed at the right, E, MEIssoniER, 1885. Panel. 


a ey s 
‘i i 


scale 
3 SECOND NIGHT'S SALE. BRT a 
-— 191 S278 
H. LEROLLE ,. . /62 Ss] 
N ; \ 


Morning at the Farm 
aN 
29 x 28% 


At the left the wall of a farm-house is seen and a stone wall enclosing the 
farmyard crosses the middle ground. Over the wall, and through the foliage 
of the trees which fill the yard, the brilliant light of early morning flashes in 
broken beams. A peasant girl, carrying a pail, advances in the centre, and 
behind her at the right two geese feed along the ground. 


Signed in full at the right. Canvas. 


192 


F, ROYBET At. ae 
49 


The Secret 


A party of free-lances, after a successful foray, are dicing and drinking 
away their plunder in the common room of a Spanish cabaret. The period is 
of the middle of the seventeenth century. Into the riot of the revel the stand- 
ard bearer of the troop has entered at the doorway at the right, and the trum- 


him, in a discreet whisper, the events that have passed in the tavern during his 


. 
peter, who has preserved his sobriety as befits an officer, is communicating to = | 
_ absence. | 


Signed in full at the left. Panel. 


; 
- 


THE SENEY COLLECTION. _ 


The Farm 


20 X 36 


Under a clump of oak trees which occupies the centre of the picture, the 
wall of the farmhouse is seen toward the left. At the right are some other 
farm buildings. The foreground is a plateau, rich with a thick growth of 
grass, and traversed from the left by a path leading to the farm, in whicha 
figure isseen. At the right, in the immediate foreground, isa pool of water. 
The color is the intense green of midsummer seen at its most powerfu! pitch 


under a burning sky. ae 


Signed in full at the left, Canvas. 


- toh ae * 


CONSTANTINE T Nes a 


The Ewe Lamb ca “a 
45 X 35% : . ; oe a 


In the pasturage, a fine old ewe watches, with a maternal solicitude that _ 
is almost human in its expressiveness, her little lamb, which is just learning == 
its lessons of caring for itself. In the middle ground at the left are grazing 
cattle and on the right a shepherd. The picture is a study of living models, of : 
great accuracy of drawing and a masterly style of execution. s 44 


‘Signed at the left, C. T. Canvas. 
ea 


SECOND NIGHT’S SALE. 


195 


Now; DIAZ : 


a ME. After the Storm 4. 
a per “ah oA ¢ 
| & : yw 32. X 3034 


Sg 4 The rain-clouds are breaking in a gray sky over a rocky hillside. On the = 


‘ right is atree. Rocks and brush diversify the ascent, whose grass is richly 7 i 
ie green from the recent shower. A narrow and irregular path leads over the fe | 
= summit of the hill from the right foreground, and under the tree on the right - 
a female figure is visible. 
2 Signed, N. Diaz, ’64. Canvas. 


ee 196 


{pr L7,HERMITTE 
ie / h U 
: i iy Noonday Rest 
30% X 38% 


The laborers in the haryest-field are resting after their dinner, indications 

of whose consumption appear in the empty basket and the dry wine-bottles. 

In the immediate foreground a girl sleeps, with her head pillowed ona sheaf 

of wheat. Behind her sit a man and a woman—fine rustic types—who are 

ae chatting with a woman who, with a’baby on her left arm, is carrying with her 
right hand a sheaf of wheat to the stack. 


Signed in full at the left. Canvas. 


THE SENEY COLLECTION. 
Uc é uf ' 197 

ait 
: ne S- ADOLPHE SCHREYER 


Come Here! 


46 X 36 


A Wallachian horse-breeder has gone out into the pastures to reclaim his 
vagrant colts. ‘He sits his steady-going and experienced old horse at the left, 
and snaps his fingers to invite within reach of his halter a shy and yet not cow- 
ardly little red colt of his herd that contemplates him from the middle ground 
toward the right. 


Signed at the right in full. Canvas. 


oo YS 
3 9 5b a 19 
ee 
a 1 O " T>® e ahae 
. 1 ey 


i 38 x 6r 


KARL HEFFNER are 


A broad and tideless river extends to the very horizon under the shadow of 
a showery sky, which is lighted along the horizon-line by the last pale gleams 
of ahumid sunset. On the bank at the right is a heavy and sombre growth of 
trees, among which the gray and crumbling walls of a partially-ruined grange 
are discerned. The shadows of the bank reach down into the water, and the 
sentiments of desertion and of solitude are most poetically expressed. 


Signed on the right in full. Canvas. 


JEA 


The Grand Inquisitor 
45X58 


The head of the terrible aan stands erect in the centre of the com- 
position, a stern old man of an ascetic type. He menaces with a gesture of the 
hand, in which he holds a crucifix, a nobleman and his lady, who are seated 

under a window at the right. They are being subjected to a question and 
threatened with the dread authority of the dark and merciless society for the 
enforcement of their answer. 


Signed in full at the right, 1886. Canvas. 


200 


mal BARON aes vy 


The Decl a 


48 X 33 
In the centre a lady, leisurely putting on her glove, as if for-a prom f fe 
listens to the proposal of a cavalier in black at the left. He bows deferentially 
as he speaks, and his face shows the interest he feels in his words. The paav 
‘accepts his advances with a somewhat indifferent expression. The costumes 
are of the sixteenth century. The background is a rich Flemish interior. 


Signed at the right, H. Leys, 1863. Canvas. 


ho 


- ‘THE SENEY COLLECTION 


201 
T. ALEXANDER HARRISON 
La mal 


tr 


35% 7° 


The moon is rising at its full, in a sky still faintly colored by the afterglow 
of the sunset. The crests of the wave-lines in the peaceful sea are silvered by 
its beams. The long rollers break upon the beach in the foreground, sending 
their wash high up upon the sands, with fringes of creamy foam, and at the right 
a patch of bare beach is seen. The delicate gradations and contrasts of color 
caused by the conflicting lights, and the luminous atmospheric effect, ranks this 
picture not only a masterpiece but asone of the great marine paintings of the 


world. 


Signed in full at the right and painted on canvas. 


x 


miki NIGHT'S SALE. . 
| 


_ Friday, February 13, at 7.30 o’clock, P.M. 


In the Assembly Room of the Madison Square Garden, 


202 


GABRIEL MAX 


St. T heresa : 


I9X15% 


_ _ The saint is shown at busi length, with her pure young face in three- 
quarter view, turned toward the left and uplifted in prayer. She wears a 
black nun’s robe, and a hood with white lining, with a coif and collar of 
white linen, which give her face, by contrast with its vivid vitality of color, a 


brilliant verisimilitude of life. 


Signed in full at the upper right. Canvas. 


i} =e 


THE SENEY COLLECTION. | 


CHARLES E, JACQUE 
A Morning Call 


1534 X 1234 


r 


Two rustic girls, evidently an elder and younger sister, are about to enter i 
the open door of afarm-house. They stand in a courtyard paved with stone. 
Farm buildings wall it in, and some fowl peck among the stones of the court. 
A picture of ripe color and extremely delicate execution. . 


Signed in full on the left. Panel. 


204 
CARLTON WIGGINS 


Evening at Barbizon 
13 X 20 


In the gloaming of a summer evening sheep are advancing homeward 
down a slope above whose crown the sunset shows between the stems of fruit- — 
trees. A peaceful harmony of color carries out the restful suggestiveness of 
the hour and scene. hs 


Signed in full at the right, 1884. Canvas. 


205 


ar 7 JOSE DOMINGO 


The Bravo 
14% X 9% 


He stands against a column at the gateway of a tavern, ogling some pass- 
ing nymph of the street. He wears the costume common to the mercenaries 
and bravi of the seventeenth century in Spain and Italy, and is a robust and 
truculent figure. Figures are seen in the tavern at the right. 


Signed in full at the right. Panel. 


206 


f£. ZAMACOIS 


The Frightened Butler 
6% X 4% 


At the left a liveried butler, who has evidently been taking liberties with 
the liquid contents of the pantry, makes a defensive stand with the handle of 
his floor brush against a suit of armor set up on a stand in a dimly lighted 
hallway. A firm but delicate execution, high finish, rich color and effective 
chiaro-oscuro characterize the picture, which is one of those exquisite minia- 
ture works with which the artist won his Parisian reputation. 


Signed in full at the left, 1866. Panel. 


J. FRANCIS MURPHY 


Autumn 
9X13 
-In the middle ground at the right a part of a grove of trees shows, colored 


by the frost but yet in full foliage. At the left, in the foreground, isa ug of | 
water, and the sky is filled with rolling ee 


Signed in full at the left. Canvas. 


208 


JOSEF ISRAELS 


* 


The Fisherman’s Daughter 


13144 x 10% 


) A young girl plods barefooted along the sea-shore, with a fish-basket on | ni as 
her back. She is going to meet the returning boat of her father, from whose eit 7 
catch the empty basket will be filled. The sea, with a high horizon, and the os) 
sky, form a background for her sturdy figure, moving across the canvas from | 
right to left. 


Signed in full on the right. Panel. 


209 
C.F) ULRICH 


The Wood Engraver 


A 18% x 10 


A young woman in a black dress, with a lace ruff at her throat and a red 
neckerchief over her shoulders, sits with her back almost turned to the specta- 
tor, in front of a window, outside of which a brick house-wall in sunlight is 

seen. She is turned toward the right. The work-bench in front of her is 
covered with the tools of the wood engraver’s craft. On the wall behind her 
toward the left are a shelf with plaster casts on it and proofs of engravings. _ 
She is seated in a wooden chair, painted in a dull yellow. 


_ Signed on the right, ULricu, ’82. Panel. 


210 


oe M. FORTUNY anp B. FERNANDI 


Street Scene, Naples 


.. 934 X 14% 
aa This is a view of the street of Sta. Lucia, in Naples, painted by Prof. 


Fernandi, of the Malaga Academy of Fine Arts, and animated with figures, 
vehicles, etc., of exquisite delicacy and spirit, by his friend Fortuny. 


— Signed on the left by both artists. Panel. 


THE SENEY COLLECTION. fe 


2iI 


A, DE NEUVILLE iL: 4 


The Outpost A oe 
e Outpos 


2044 X 12 


The scene is the advance post of a Parisian suburb which has been shelled 

by the Prussians. In the background are dismantled buildings. Across the 

middle ground is an improvised breastwork, behind which, at the left, two 

soldiers crouch watchfully. The officer of the guard makes his round, a stout © 
staff in his hand, his figure occupying the centre of the picture, young, reso- 

lute, and ready for defence upon the first alarm. The time is winter. 


Signed in full at the left, 1876. Canvas. 


212 


GEORGES MICHEL a Ms 


Landscape 


18 X 22 


4 


Ls A hill crosses the foreground, with a clump of trees on the left. In the 
immediate left foreground is a log, and at the right a road which passes over 
the hill. This road is seen continued through a vast distance of landscape, 
diversified with trees and distant houses, illuminated in places by the light 
struggling through the clouded sky. 


Signed in full at the right (a rare occurrence in this artist’s pictures), G 


MicuE1, 1824. Canvas. 


le Fi 


ee] THIRD, NIGHT'S SALE. 


213 


& 


W. A. BOUGUEREAU I 


Night 
18 X Io 


Night is typified by a graceful young female figure, whose perfect beauty 
of form and color is only partially concealed by a flowing and diaphanous 
drapery of black. She descends upon the earth from a sky in whose canopy of 
darkening blue, stars twinkle faintly, while a faint flush of sunset still shows in 
the clouds that hang over the horizon. Upon the ground which she approaches 
in her descent, the waters of a little stream catch a pale light, as if from a new 
moon, and owls hover inthe air. The picture is one of a series which was 
painted to typify the divisions of the day. 


It is signed in full at the left and painted on canvas, 


214 
GEORGE INNESS 


Sunset at Nantucket 


20 X 30 


In the second plane, at the left, cattle barns, stables, and the offices of an 
extensive farm are assembled ina fenced enclosure. A bare rising ground 
makes a line against a sky splendid with the blazonry of sunset. Across the 
meadows on the right cows straggle homeward to their stalls from the pas- 
ture. 


Signed in full at the right. Panel. 


THE SENEY COLLECTION. 


I5 , ir ccm 


2 
: ~ EUGENE FROMENTIN ty, 


RB 


A Wind Storm on the Plains of Alfa 


2134 X 2534 


The clouds are blowing from the right in a bitter blast. In the foreground 
two mounted horsemen, who have been overtaken by the tempest, shroud their 
faces with their burnouses. Their horses, also aware of the coming chill, lay 
their heads together. A third horseman at the left has dismounted from his 
steed and turns his back to the storm. 


Signed in full at the right. Canvas. 


216- | a 


“J. C.. CAZIN : ee 


La Maison du Garde oe i : 


23% X 29 


From an elevation in the foreground, over which a path passes down to a 
the beach, the windows of the coast-guardsman’s cottage of rough stone over- 
look along stretch of shore and a wide expanse of sea. Solitude surrounds his ca 4 
windy watching place, to which approaching night adds its measureof lone- 
liness. The sunset is dying in the sky, and at the left is seen the pale crescent 
of a new moon. 


Signed in full at the left, Canvas, 


phe 


| THIRD NIGHT'S SALE. 


214 x 16 


‘The young poetess is shown in profile, facing toward the right, at nearly 
half length. She is seated in a chair, and has in her right hand ascroll. The 
laurel wreath with which she has been crowned for her ode is on her dark hair, 
and her face is of a very pure and sensitive type of girlish beauty. 


eee 


Signed in full at the upper right. Canvas. 


A maid-servant, employed in the operation generaily known as house- 

cleaning in an artist’s studio, varies her employment by a critical inspection of 

_ its treasures and its curiosities. The varieties of sketches and studies, bric-a- 

brac and other impedimenta of the painter’s workshop are rendered with close 
fidelity, while the figure of the servant herself is of typical Parisian character _ 
and pert spirit. 7 ia 


Signed at the left in full, Paris, 82. Canvas. 
16 


Fy e 


THE SENEY COLLECTION. 


219 


18 x 28 


In a marshy plain, bounded in the distance by a range of hills from right a 
to left, Arab cavaliers are hawking at the herons and cranes which rise in Sh 
clamorous terror from their coverts in the grassy pools. On the right the 
party advances, while in the middle ground a falconer is seen giving his hawk a 
its cast. Fleecy clouds blow in a bright blue sky. - be 


Signed in full at the left, 1879. Canvas. a 


220 


F. D. MILLET # ks one 
weet yt a 


Confidences 


244% x 16 


Against the marble terrace wall of a classical garden two stately beauties 
of the period are engaged in conversation. One, at the right, is attired in 
white over a pink under-robe, and holds a scroll in herhand. The other wears 
a similar costume of yellow and white. The pale tints and soft textures are 
subtly differentiated against the marble, and the verdure of a garden shows” 


above the stone in the background. tM 


Signed in full on the right. Canvas. a 


221 


A. H. WYANT 


Sunset 


251% X 20 
The waning glory of the sunset is reflected down a marshy brook into the 
foreground, where, at the left, a tree rears itself against the gold and crimson 


_~ a | 
_of the sky. The atmosphere is suffused with the delicate and vaporous splen- 


subtle harmony with the sky. 


: _ Signed to the left of the centre in full. Canvas. 


222 


A. VOLLON 


Still Life 


28 X 351% 


A bowl of cherries on the right, in the centre a brown crockery jar, and at 
the left a pewter pot and tumbler, form a group upon a table. A fresh, rich 
color scheme and energetic technique characterize the work. 


Signed in full on the right. Canvas, 


THE SENEY COLLECTION. 


223 


CONSTANTINE TROYON 


| ye A Normandy Ox ee 


21 X 26 


A powerful, reddish-brown ox, with white markings, stands in the middle 
of a field, facing to the right and nearly in profile. At the left, behind the 
animal, are some trees. The distance on the right is a level field. The land- 


scape is low in tone, and the ox of a powerful color and massive handling. 


This picture was a favorite with Troyon, who kept it until-his death. It 
is stamped on the left with the official stamp of the sale held after the artist’s 


decease, and is on canvas. 


224 ra 


0 GEORGE INNESS |.“ 


— v 
3 O Moonlight in Virginia 


20 X 34 


At the right a negro woman is boiling water in a pot overa fire. Behind 

her a man of her own race prepares a slaughtered pig for scalding. At the 

left are some bare trees, behind which are houses, and in the middle plane at 
bs the centre a cabin with a large chimney. The broad brilliancy of the full | 
ON moon on a night of late autumn gives the scene the illumination of day. 4 
} 


‘i ; W Signed in full at the right, 1884. Panel, 


eA 


“THIRD NIGHT’S SALE. 


ere: Y JACQUET 


The Falconer 


26 X 32 


A young lady in the costume of the seventeenth century is seen at three- 
quarter length, standing. She wears a black hat, with a beaded border to the 
narrow brim, and:a black feather; a yellow dress embroidered at the bodice 
with gold, and over it a jacket of pearl-gray cloth, with puffed slashes of black 
and white at the shoulder, and close-fitting yellow sleeves. A black scarf is — 
draped in bands over the skirt of the dress. She wears a large pearl in her 
ear, and a jewelled chain around her bust to carry the whistle for her falcon, 


which perches on her uplifted right hand. 


_ Signed in full at the right. Canvas. 


226 


ERSKINE NI OW; 


Always Tell the ‘Eri 


2514 X 20 


The grandmother, seated at a table on the right, has intermitted her knit- 
ting to administer a lecture to the stubborn urchin who has been luckless 
‘enough to be caught in a perversion of the truth. The boy stands at the left 
in a decidedly impenitent attitude. The grandfather looks on and listens with 
approval to the moral law which his good wife is endeavoring to inculcate. 


Painted on canvas. 


227 


EASTMAN JOHNSON Ny 


The Pension Agent 


25 X 3714 
It was by this touching picture that the artist gained one of the greatest 
impetuses to his well-earned reputation. The scene is in a farm-house, in the 
humble room which serves at once for kitchen, family meeting place, and bed- 
room for the crippled son, whose bed is seen upon the right, with his musket, 


cartridge box, and canteen hanging over it on the wall. The pension agent — 


sits at the window in the centre. At the left are the father and mother of the 
mutilated soldier, who himself stands on the right supported ona crutch, and 
detailing to the agent the circumstances by which he received his injury. The 
old dog of the house watches him ashe speaks. His young sister, pausing in) 
her work of peeling apples, listens with an awe-smitten and pained face ; and 
even the poor serving-woman of the farm turns her head from her duties of the 
moment to hear again the simple story of the young master’s sacrifice of him- 
self upon the altar of his country. This thoroughly national and dramatic 
composition was painted in 1867. : 


Signed in full at the right. Canvas. 


~ 


4 


‘? 


| ‘THIRD NIGHT’s sALEY | L 247 


ENE ISABEY {f G2 
| foie 
The Wedding Festival 


25 X 21 


A bridal party descends the wainscoted staircase of an ancient chateau, 
led by the bride and groom, In the foreground on the right a concert of 
young girls sings, to the instrumental accompaniment of a band of musicians, 

a chorus of congratulation. In the left foreground, pages in scarlet livery 

| guard the table spread for the wedding feast. The bride halts on the lower 
platform of the staircase to receive the pleasant tribute. The guests form 
a procession on the staircase behind them. 


Signed on left, E. I.,’74. Canvas. 


229 


Cc. F. DAUBIGNY 


On the Marne 


17 X 26 
The low bank bears a growth of willows. Ducks swim in the water in 
the foregrouad, and at the left is a barge. The time is morning and the 


o 


season spring. 


Signed at the right, Dausicny. Panel. 


x i 4 
i, af a \ 
BI REE RRR FT at 


THE SENEY COLLECTION. — 


2305 7 : 


JULES DUPRE afl ; 


Marine | at 


231% X 29 e' 


, 


The sea of the English Channel swells in long rollers under a gray and 
humid sky. In the foreground the sluggish gray-green waves break in fringes 
of foam over some unseen reef. The sea reaches to the horizon, unobstructed Pay. 
by a vessel, in solitary majesty. ‘ a. 


Signed at the left in full. Canvas. 


231 


Ey. N. V. DIAZ 


ge | The Faggot Gleaner 


Eo 18 X 21 


From the right of the picture a broken and rocky path ascends toward the i 
left through a dense forest. The sunlight, forcing a casual passage through ey < 
the interlacing branchwork and foliage overhead, here and there glints like a 
jewel upona tree-trunk or flecks the ground with a splash of gold which makes | 
the surrounding shadows richer, deeper, and more mysterious by the contrast. 
In the foreground on the left a peasant woman, gleaning the dry brushwood 
and dead fallen twigs for her humble hearth, gives the picture its title. , : 

d 


Signed on the left in full, 1867. Panel. \ , 


* GS eae = 


THIRD NIGHT'S SALE. 


—' 


w 


- i g 


From the river bank at |the left of the picture, which is shadowed by a 
group of trees, the ford passes upward and across the stream to the right, 
where are seen the walls of a water-mill on the farther bank, under some tall 
trees. A man on horseback is crossing at the ford toward the mill. Executed © r By: j 
with a light and spirited touch, cheerful in color and airy and tender in its a 
atmospheric effect. 


Signed on the left, Corot. Canvas. 


: 233 
CONSTANTINE TROYON 


- Sunset 


1344 x 18 

Up the centre of the picture is a marshy creek, reddened by the setting of 

the sun in asky diversified by broken and sombre clouds. At the right tall 

reeds bank the stream in. On the left a couple of trees grow upon the bank, 

and under them two figures show a peasant and his wife returning to their hut, 
which is shown on the extreme left. 


Signed in full at the left, 1851. Panel. 


THEODORE ROUSSEAU 
) 


Autumn yee 


15 X 224% 


- Beyond a foreground of pasturage, which is in the shadow of a cloud,a 
level plain extends to a boundary of distant hills. Cattle graze uponit, and the 
smoke of brush fires rises in the distance. At the left are three trees. 


Signed in full atthe right. Panel. 


235 


EUGENE DELACROI 
fe tal 


pent 


NY 


At the left, among the blades of a sword cactus, under whose green shafts 
it has been sheltered,a huge serpent, aroused by a threatening sound, raises 
its head to hiss defiance at its enemy. A Bengal tiger, in the centre, whose 
approach has disturbed its rival outcast of the wilderness, halts with uplifted 
paw and turns its savage head in the direction of the familiar challenge to 
mortal combat. Its lithe flanks already quiver with the first movement = a 
side spring which shall place its prey within its Srasp, ‘tn 


From the Secretan sale, signed at the right, and painted ona ties i ; 


In an orchard women are gathering from the ground the apples which 


have been shaken from the trees. At the right foreground a robust young 
~ peasant woman stoops to collect the fallen fruit, In the left middle plane 
i ai others pursue their work. pee Reis. is ‘of a low tone, rich color, and broad 
2 _ but finished execution. 


On canvas, and signed at the right, J. F. Mitver. 


i 9 
A. G. DECAMP e bl 


Cat, Rabbit, and Weasel 


Io X 14 


An illustration of a fable of La Fontaine in which the artist has combined 
the expression of a story, fine animal characterization, and beautiful painting. 
The cat sits in the comfortable attitude of her species on the right. The rabbit 
F advances with natural timidity from the left. The weasel makes his approach 
out of the foreground with the impudent boldness for which these courageous 
little outlaws of the farm are famous. 


Signed on the left, Decamps, 1836. Canvas. 


lid srl ) = Riau a | i + Je } a, | ae ee, i s. Peed Soi TS. ws bait —. 
‘ r > y ; 
é i Z 


THE SENEY COLLECTION 
\ 


3 (0 es EUGENE FROMENTIN- \" las 


hia 


e i 
The Return from the Chase i 


16 X 13 


A party of mounted Arab hunters are returning from the chase at the 
approach of evening. In the middle plane at the right, cavaliers are seen in 
the descent of a rocky gorge, about to cross a stream. Ascending a distant 
hill in advance are other horsemen. In the immediate foreground, at the 
head of the path, a huntsman on a white horse rests his steed, holding his two 
hounds in leash. Another on a brown horse, behind, has dismounted. . 


Signed in full at the left. Canvas. From the Secretan collection. 


239 
G. BOLDINI 


ett In the Garden of Versailles 


A) U a 


A group of courtiers and of ladies of the court are conducting a flirtation of 
compliment on one of the terraces of the chief palace of French royalty in the 
last century. Their gay attire and spirits repeat the brightness and color of 
nature about them, in the artist’s most brilliant and sparkling touch. 


Signed at the left, Botpin1._ Panel. 


W. LOWITH 
The Duel 
834 X 134 


In the bare seclusion of the disused riding-school of a cavalry barracks 


two men fight a duel with swords. Their seconds attend them, sword in hand. 


At the right, three spectators look on. At the left, an officer of hussars 
_ watches the fight seated, while the surgeon kneels to unpack his instrument 
case. The furious action of the duelists and the earnest interest of the others 
is admirably rendered ; the character of the figures is strong and lifelike, and 
the color and painting even of the accessories is of the masterly quality 
that warrants the sobriquet of the young artist as ‘‘the German Meissonier.” 


Signed in full, 1886. Panel. 


a2 
4 “wg? 
Ni 


KNAUS 


LUDWh 
\ \ iY ‘ 
. - - \ 


The “Veteran 


84 x6 


The head of an elderly man of a fine, soldierly type. His hair is gray. 


His mustache and imperial have a military trim. His complexion shows the 


good health of a well-disciplined life upon which age makes few inroads. 


Signed at the upper left, L. Knaus, ’89. Panel. 


: DE ei eee 
Pee Poe a ta! . ae e =, ce G 
oy pe ee ME Garnet = ae 


THE SENEY 


242 


C. Y¥. TURNER iL : 
ing Ml 
<a. 


: Dreaming 
. 24 x 18 re 


_ This picture, which is a study of Bayard Taylor’s charming creation, = : 
Hannah Thurston, shows the fair heroine at three-quarter length, in profile 
and facing to the right. Her figure, robed in black, with a white linen scarf 
crossed over her breast, plain white linen cuffs, and a linen band to her black 
cap, is relieved against a window through which is seen a garden in full 
summer flower. Her left hand rests upon the window, as if about to open it, 
and in her right, which depends at her side, she holds a prayer-book. 


Signed in full at the right centre, and dated 1885. Painted on a panel. 


in ¥ 


243 
Wa e 4 : at , 
AE Cc; CAZIN ] : J : ~ ; 
e e e re 
Night in Flanders A ae E 
25 X 93k 

On the right are the trees of a public park; at the left houses, along a 

paved street, with lights in their windows and the transoms of their door- = 


ways. They are illuminated by the moon, which is not itself seen, and the 


sky, which is luminous and clear, scintillates with stars. 


Signed in full at the right. Canvas. 


ud 


a 


- THIRD NIGHT’S SALE. 


244 
E Gat-Eh BOUGHTON 


. Charity 
30 X 25 


A young mother and her little girl are enjoying an afternoon walk after a 

snow-storm, warm in the rich winter garments which indicate their superior 

station in life. A group of rustic children, rosy-cheeked with the cold, opena 

_ gate for them to pass, and to the foremost of them the little girl reaches out a 

oy coin, while the mother looks on with an approving smile. The background 
_ shows a snowy English landscape, with the houses of a farm. 


Signed in full on the left. Canvas on a panel. 


- 22x 18 
Standing, in three-quarter view and with her back to the spectator, is a red 
cow with white markings. Lying down beyond her is a black cow, witha 
white face, seen in profile. At the right, behind, are two others. to which the 


red cow seems to be calling. The landscape is a bare plain. 


Signed in full at the left. Canvas. 


THE SENEY COLLECTION. 


246 


J. L. GEROME 
The First Kiss of the Sun 


214 Xx 39% 


In the foreground, at the left, the low tents of an Arab encampment have 
been pitched upon a grassy oasis of the desert, where the sands are irrigated 
to fruitfulness by the waters of a shallow rivulet. A few date-palms grow by 
the stream at the left. The camels of the caravan, stretched upon the grass 
around the camp, where their masters still sleep, raise their heads, in an in- 
stinctive accord, at the coming of another day of toilsome servitude. Across 
the sky, the outline of the desert is broken by the towering bulks of a line 
of pyramids, which diminish in perspective from the right to the left; and in 
the arid space between this horizon line and the camp, the Sphinx, that in- 
soluble mystery of the desert, is faintly seen, rearing her head from her grave 
of sand. The sky is one serenity of cloudless blue, in which the shadow of the 
night still lingers. The same shade hangs over all the earth, in a veil that 
gives its outlines a tender softness. On the eastern faces of the two great 
pyramids alone does the eternal supremacy of the orb, that has looked upon 
the life and death of this lost empire of the past as it has looked on those of 
worlds unknown, set its brand of power. Reddened by the first kiss of the 
sun which warmed the babyhood of the monarchs they entomb, the sepulchres 
of the Pharaohs make two great beacons against the sky, as if they, too, were 
about to blaze out and leave the sterile wastes and ruins at their feet to the 
darkness that enshrouds their own history. 


Signed at the right, J. L. Gér6éme. Painted on canvas. 


“THIRD NIGHT'S SALE. 


247° 
GEORGE INNESS 
The Bonus Glow 
27 X 22 


_ The sun, a huge disk of fire, is setting at the right, seen through the out- 
skirt of a wood. Its fiery beams penetrate the foreground and light the foli- 
age and underbrush with flashes of color. At the right, in the foreground, a 

ian tree which bends to the left rises out of a tangled thicket. zs 


Signed in full at the right, 1885. Panel. = - 


248 


ADOLPHE SCHREYER,, 


Fo 3s - 


Bh > Contrabandist ' 


? 5 
a 


Down a rocky and dangerous mountain side, made more dangerous . es } 


ite “snow-drifts and the driving storm, a mounted smuggler carefully leads his 

; oer ~ pack-horse, laden with contraband wares. Both horses pick their way care- 
fully over the perilous declivity. The mountain slope is covered with a scatter- 
it ng growth of trees, stunted and warped by the blasts and covered with snow. 


Signed in full on the right. Canvas. 
17 se aes 


THE SENEY COLLECTION. 


Ny 


249 
H. LEROLLE 


The Homeward Path 
32 X 25 


A shepherd girl is returning from the grazing ground under escort ee her 2 
faithful dog. She climbs the road toward the village, staff in hand. The 


moon is rising over a slope which is crowned on the left by a house, in one of E 
whose windows a light shows. At the right a fence closes off a field path from 
the road, and a few slender saplings grow by the roadside. ‘The distant village : 


is dimly discernible, with a figure or two returning homeward in the middle 
ground. The dog looks with a watchful eye at these personages, as if for f 

assurance of his mistress’s safety against them, while the shepherdess plods 
steadily along, weary of her day’s monotonous labor and happy at the Prospect, ‘4 
of rest. ; ; 


Signed on the right in full. Canvas. 


aT 


HIRD NIGHT'S SALE. 


250 


LUDWIG KNAUS 


The Old Witch 


i 
28144 x 41% 


On the outskirts of a village, the children returning from school are hoot- 
ing and stoning a wretched old woman who appears in the middle ground, 
; bent and haggard with age, advancing witha staff in her hand and smoking a 
- pipe. One boy is about to hurl a stone at her, others shout abuse, while 
_ smaller children fly in terror before her malignant approach. She presents a 
determined and even combative aspect, as if accustomed to the ill will she 
receives and defiant of it. As if to typify the ignorance out of which arises the 
superstition of which she is the victim, and to symbolize the violence to which 
it leads, a tempest is rising in the angry sky, and the shadow of its approach 
darkens over the young persecutors of hopeless misery and their prey. It is 
Said that this picture had a distinct effect in the more ignorant German com- 
munities in compelling government protection for those unhappy creatures on 
__ whom a debased superstition set its ban. 


Signed at the right, L. Knaus, 1885. Canvas. 


x 


ry 


a alee rae C37 
THE SENEY COLLECTION 


251 
CHARLES C. JACQUE 


The Shepherd 
19% x 46 


_ A flock of sheep are crossing an extensive plain, passing from the left to > i. 
the right. The shepherd with his dog are on the right. The background dae 
affords a perfect panorama of rustic employments: a plowman is at work, | z pis a< 
weeds are being burned, a stage-coach comes along the high road, and farms oat ae 


and a village are seen, 


Painted on a panel, and at the right written, in French, in ink: “I certify 
that this picture is by me. It was painted about 1856. Paris, 1886,CH. JacQUE.” 


a8 


252 
ALFRED STEVENS 


The Departure 


3614 X 29 


7 


In the foreground, at full length, a lady in a summer costume of red and “a 

white is shown upon the beach, looking out to sea. She rests her hand upon. = 4 
ared umbrella, and follows a receding ship intently with her eyes. At the — i 
right figures sit upon a breakwater which has been left bare by the receding es a. 

s=  tide, 1 


Signed in full at the left, Havre, 1884. Canvas. 


WILLIAM M. CHASE 
In the Studio 
A young lady, dressed in white, is seated in an aymechair in front of s 


wall set off with pictures, draperies, and a shelf loaded with curious bric-a- 


brace. 
at 


M 
~ 


Executed in pastel, and signed on the left in full. 


a 


es) ° 


2 bi 


CARL VON STETTEN M 


wn fs ES 


The Image Seller 


; 


ae 
‘ 28 X 35 
4 


Z : An Italian vender of plaster images has set his wares up for sale on one of 
. e the bridges crossing the Seine. A portion of his stock is displayed on the 
be balustrade against which he leans. His extra supply is packed in a wicker 
basket on the footway at the right of the picture. On the left the base of a 
bronze lamp shows. A steamboat, passing on the river, is seen through the 
balustrade, and in the distance the towers of the Trocadero are outlined 
against the gray sky of a Parisian autumn or spring. 


Signed on the right in full, 1887. 


262 THE SENEY COLLECTION. 


~ {? 255 
/¥ | aes 
a GEORGE FULLER 
‘ & ?) 7, S : 
1 aa Fedalma 


42 X 30 


She is seen at three-quarter length, in the size of life, holding a necklace 
of jewels in her hands which she has just been examining. Other jewels are 
on a table at her right. She wears a robe of white, filmy stuff, with a black 
veil or scarf draped over her head, and her figure is relieved against a dark 
background of indefinite character. Her face is young, innocent, and flushed 
with health, and, like her bare arms, is exquisitely modelled. 


Painted on canvas. 


{ 


THIRD NIGHT'S SALE. 


256 AL 


at EUGENE DELACROIX { AA OF 32 


yal 


Selim and Zuleika  \' 


és 


18 X 22 “are 
ie 


ab 


: ] 
Delacroix, who as an artist had much in him that inclined him to 


sympathy with the romantic movement in French and English literature, and 
especially poetry, drew out of Byron the subjects of several of his best 
pictures. The most famous of these is the incarnation he gave to the dramatic 


f Ws) eee a rt eS 
VLE ERED. CIT PE IOAN, FOS 8S 


and noble passage from ‘‘ The Bride of Abydos,” which is immortal in the 
records of French art under the title of “Selim and Zuleika.’’ The moment } 
chosen by the artist is covered by the XXIId and XXIIId stanzas of the poem, Br F : 
_ when the loversin the grotto are pursued and menaced with a cruel death. a | 
The exact passage that Delacroix meant to illustrate is undoubtedly this : = 


? 


Dauntless he stood. ‘‘’Tis come, soon past— 
One kiss, Zuleika; ’tis my last.” 
1 * 


The picture shows Zuleika clinging to Selim in the cavern, while their 
enemies approach. The composition is full of spirit, expression, and vital fire, 
and of anoble harmony and richness of color. It is one of the artist’s later and 
more thoughtful works, and shows how closely he must have studied even the 
literature of an alien nation. 


Painted on panel. Signed in full on the right. 


c. F. pAuBIGNY” 9 


Io X 17 


Young trees in the full greenery of spring crown the river bank at the left. 
The bank, clothed in grass, descends to the river, in which ducks paddle. Be- 
yond the bank at the right is a distance of low, rolling hills. The verdure has 
all the abundance and fresh, crisp color of the season, and the sky is warm in 
subtle flushes of the light of early day. 


Signed at the left, Dausicny. Panel. 


Ne roe va 


ie ys : GC & eA ‘as cd el 


Lp The Old Farm 


tr x 16% 


On the right is a portion of an old French farm-house, viewed from its 
orchard and kitchen garden. A pool of water is in the foreground. At the 
right a figure is about to enter the house, and on the left another, carrying a 
bundle of firewood, ascends the steps leading to the kitchen of the farm. 
Midsummer brightness is mirrored in the sky and indicated in the luxuriant 
vegetation. 


Signed in full at the left. Panel. 


1) 08325- 7 a 
Be 2150: | a be is 
| | Spring | . a 


> | 


eee 259 
) 
_ THEODORE ROUSSEAU Ae 


‘ 
7 


The Pasturage 
154% x 21% 


re 


cA stream intersects the centre of the picture and is ‘crossed by a bridge. 


_ At the left is a tree, and cows graze on. the plain. Houses are visible at the 


a 7 "right, and an extensive prospect of pasture-land, rich in succulent vegetation, 
‘stretches into the distance. Painted in a ripe harmony of color, and with much 
solidity and force. zi : 


Signed at the left, Tu. Rousszav. Panel. 


260 
NeoV & DIAZ, 


In the Forest 


13 x 19% 


Early autumn has commenced to give to nature the warm flush that pre- 
-cedes the bitter barrenness of winter. The trees are still in full foliage, and 
_ the turf is rich and strong. Only a few leaves have fallen from the tree in the 


centre of the canvas. At the left is the figure of a girl. 


Signed in full at the left. Canvas. 


A fisherman in the foreground is about to set out in his boat in the early 
morning. His craft is moored in the rushy shallows of a little creek under a 
willow bank. The mists of dawn still veil the distance. One of the Hundred 
Masterpieces exhibited in Paris, 1883. 


Signed at the left, Coror. Canvas. 


be C,: GAZAN 


3 


ae the right, the snug little houses of a prosperous Dutch fishing village 


2 
ake) wren” X 32 3 
cs 
wdc 


ce a neatly paved street. Here and there among them a window is still 


SE ea ae 


lighted. They front a dyke, overgrown with grass and planted with trees, 

es left of which is seen the sea. In the middle ground a turning of the 
i 3 ord shows a row of fish-houses and the slope of the dyke, on which are many 

a0) ats which have been beached for.the night. The scene is lighted by the tem- 
pered brightness of a summer moon. 


Signed in full at the left. Canvas. 


2 ie Moonli nag in Hp set is ie 


263 


¥ 


i : oS G. H. BOUGHTON 


rc ‘The Council of Peter the Headstrong 


25 X 30 


Standing in the middle of his counsellors, in the council chamber, the 
& _ doughy and isa Dutchman al down the law. Seated ss the council 


a at the left j is a lofty chimney-piece, with some law-books on its shelf. 


- Signed in full at the top, to the right of centre. Date, 1887. Canvas 
backed with panel. 


264 
ALEXIS HARLAMOFEY 


The Flower Girl 


34 X 20 


A gipsy girl, herself a true wildwood blossom, has been gathering the 

humble flowers of the forest. Bare-footed, bare-headed, with her poor gar- 

_ ments barely covering her body, she is a picture of hardy beauty tanned by 
the fresh air and the sun. She is about to crossa stream. 


Signed at the right, Hartamorr. Canvas. 


268 


265 
a a H. LEROLLE 


Gossip 


32 X 26 


In an interior brilliantly iliuminated with sunlight through a window on the 
left, two ladies sit in conversation at a table, while a third is seated at the left 
against the light and with her back to the spectator. The picture is a daring 
and successful experiment in light tints, and whites in full light and shadow. 


Signed at the right, LeERoLLE. Canvas, 


266 re 
JOSEF ISRAELS xt yt 


eri, When One Grows Old hs 
; 36 x 23% 


Over the glimmering fire of turf a woman, so old that she can scarcely lift 
her palsied hands to the welcome warmth, sits in a low-seated chair. She has 
passed even the capacity for the lightest labor; and, like the decaying fire, is 
left tosmoulder out, while the whole family, young and old, still toil to add 
each his or her share to the income of the house. This picture is regarded by 
the artist as one of his foremost works. 


Signed in full on the right. Canvas. 


267 


SIR J. E. MILLAIS 


“ie The Love-bird 


36% X 25% 


A little girl stands erect, her figure turned to the left, and her face look- 


oy forward at the spectator. Her brown hair falls over her back from | 
under a lace cap, and the neck of her gown of flowered brocade is edged with ; ae 


lace. Her left hand depends at her side. On her right, which is uplifted, 


oe : perched a paroquette, of the species known as love-birds. The background 


is a rich old tapestry 


"Signed i in monogram at the right and dated 1883. Canvas. 


268 


e : ; | 4 Pri 
«JULES PUPRES” 46 ee 
| . a Se yy afl i 


32 X 39% 


4s 


’ 


_ The sky is filled with clouds which are rolled into heavy masses by the 
wind. Inthe centre a boat with sails struggles against the rising gale, and 
another sail is seen on the horizon toward theright. The sea is comparatively 

: ~ quiet, but announces its growing agitation in the foam-fringed waves which | 
break in lines of short rollers across the foreground. 


Signed in full at the left. Canvas. 


aay 


HE SENEY 


CONSTANTINE TROYON 
Summer-time 


20% X 30 

A vast and verdant champaign extends under a sinking summer ene 
is intersected in the centre of the canvas bya little rivulet, walled in with tur 
banks. In the middle ground the brook is shadowed bya bosquet of willow- 
trees, and some women are washing clothes upon its bank. In the sp cious 
meadow-lands at the right grazing cattle are seen. The distance is diversified 


by trees, in scattered clumps and singly. The blue sky is brightened by fleecy 


\ 


clouds. 


Signed in full at the left. Canvas. 


a a a ec 
; _ THIRD NIGHTS SALE. 


270 
N. V. DIAZ 


The Virgin and Child 


j 
i 


40X 24 


| - Seated in the centre 3 a charming type of pure womanhood, attired in a 

red and blue robe with white linen draperies to relieve it. She sustains upon 

oe a her knee a chubby little boy, who, witha touching grace, reaches out his hand 

ie love and charity to a poo little bird that chirps a greeting to him from the 

a ground at the left. Above this beautiful group hover some cherubim, and the 
i ergs | is a forest. 

- This picture, it is to be noted, is one of which Diaz was especially fond. It 

a) ee with him to commemorate his love for his wife and the death of his son, 

| which nearly broke his strong and ardent heart. He was frequently requested 

to paint altar-pieces, but almost invariably refused to do so. He said: ‘‘I 

have only one true altar-piece in my mind, and that belongs to the chapel of 

_ my heart.” This picture was known to many of his friends. Into what direc- 

. _ tion it drifted after his death was not known. Mr. Seney’s purchase of it was 

Ss a purely accidental. The charm of the picture attracted him, and he knew 

nothing of its history at the time. He bought it as a magnificent work of art, 


and only later learned of its peculiarly interesting associations. 2 


Signed at the left, N. Diaz, ’52. Canvas, 


THE SENEY COLLECTIO 


ot 
Mes 


CHARLES H. DAVIS 


The Curfew 


29 X 46 


‘** Now fades the glimmering landscape on the sight, 
And all the air a solemn stillness holds, 
Save where the beetle wheels his droning flight, 
And drowsy tinklings lull the distant folds.” 


Mr. Davis has illustrated this verse of the elegant Mr. Gray’s ‘‘ Elegy in a 
Country Churchyard” with a landscape which is going to sleep in the last 
light of day. The sun has descended, but radiates its fading glow from the ; 


centre of the picture. 


Signed in full at the left. Dated 1884. Canvas. 


272 


J. C. CAZIN 


The Village Orchard 


32 X 39% 


At the right of the foreground is seen a patch of road. From it to the | 


middle plane extendsa stretch of land which has been plowed for chitivacion. ee 


Beyond this field are arow of fruit-trees and the houses of a village, behind 
which, on the right, some poplar-trees show. 


Signed in full at the left. Canvas. 


273 


ROSA BONHEUR 
The Choice of the Flock 


32 X 40 


A beautiful white ewe, with silky fleece, stands in the foreground facing 
_ toward the right and seen in profile. Another sheep is seen behind, and the 
trunk of a tree shows upon the left. In the middle distance on the right a 


“0 group of sheep browse, and a pleasant adscee of rolling ground and shrub- 


 bery forms the distance. 


Sienna i in full on the right. Canvas, 


274 by 


A. EDELFELDT | Nise 


Lydia and Horace 


44 X 28 


Lydia is seated on a marble garden seat in the centre. She wears a 
peplum of pale yellow color, and gold ornaments, and is of the voluptuous type 
ot merry womanhood that the poet describes in his odes to her. Leaning over 
the back of the seat at the right is Horace himself. His cynical but good- 
humored face smiles as he utters epigrams at which Lydia laughs. 


Signed in full at the right, 1888. Canvas. 
18 


2 THE SENEY COLLECTION: 


em 


Uv 275. pe 
. Ly 7 
7. b ¢?- Pe ee 
Deliberation 


2044 x 13% 


Facing toward the left and seen at full length, a powerful man, in costume 
of the fifteenth century, stands erect at a closed door leading from an ante- 
chamber into a more private apartment. His heavy sword is shortened at its 
hangers, as if to be ready tohis hand. His brooding and thoughtful face, the © 
typical face of the sfadassin, is bent forward, and his eyes are on the ground. 


Signed at the right, E. Meissonier. Panel. 


2'76 


~ 


CONSTANTINE Be ote 


fr Sheep in a Foret at 
ae 


18 X 14 rae 
a ee 


RE cae Venramenay 


— In the foreground a flock of sheep are advancing, driven by a shepherd. 
The path enters a forest and the ground is covered with withered leaves. The 
sunlight, through a break in the foliage, lights the leaders of the flock. The 
background, seen through a vista of the trees, is an open country, under a 
tempestuous sky, with the light concentrated in its centre. 


Signed at the left, C. TRoyon, 1849. Panel. From the Collot and Faure 
collections and the Secretan sale, 1889. 


‘THIRD NIGHT'S SALE. 


i wie: 
ge oe "fete 1a 


_ The Myrtle Wreath Fe! 


- 
22x18 : 


An Italian girl, seen at half length and in characteristic national costume, _ 
is seated in the shade of a myrtle thicket ina garden. The wreath which she ,, 
has been weaving lies in her lap, and she looks up as if at the interruption of | 
an approaching step. As in all of Corot’s figure pictures, this shows fine 
drawing and color, good character, and a firm technique. 


Signed at the right, Corot. Canvas. 


E -_ . 3 f 
\ ~ 


| iy BUGENE rox MENTIN G 


7 . On the Alert 


} 


- 24x 16% 


A body of Arabian cavalry advance from the left over descending ground, 
with a higher hill behind them. One bearsastandard. A cavalier leads the 
cavalcade at the right, watchful of the advance into a country beset with 
enemies. 

Signed in full at the left. Canvas. wea ‘te te 
Meee eT Pec. 7, 1733 AK Se F Se0— te” 
S87, BOCHEV/ 4 He 


(2 (8. Ft 2B AT ot 26 


276 + +~THE SENEY COLLECTION. 


279 


F, mae K 
Lahde ape wit! * caetle 


1814 x 26 


In the centre of the middle ground, on the bank of a little river, isa clump 
of willow trees. At the left, beyond the river, a road passes from left to right. 
A grove and hills close in the horizon. The water, coming into the foreground 
between grassy banks and patches of sedge, reflects, in its unshadowed sur- 
faces, the brightness of the midsummer sky. 


Signed on the left, Dausicny, Canvas. 


280 fa 
N. V. DIAZ {~” en. 
In the Pyrenees bk Ke 


. oe 
; ig 16 X11 


One of if not actually the latest complete picture of the artist, painted at 


a the period when his growing ill health caused him to spend much of his time . 
i | fp in the milder climate of the south of France, with excursions into the moun- 
tains when the weather was favorable. Thelong and craggy range of the 
mountains which divide France from Spain forms the background, with an 
expansive landscape between them and the spectator, diversified by trees, 


Signed in full at the left, °74._ Panel, 


17 X 25 


At the marge of a placid stream, a grove of willows suck their sustenance 
from the refreshing flood. The foreground, enriched by the penetrating hu- 


_ midity of the river, is ripe in grass enamelled with wild flowers, from which a 


country girl at the right of the picture is plucking the material for a rustic 
bouquet. In the distance a fishing village is seen. 


Signed at the left, Corot. Canvas. 


282 


The sky is Clearing, after a heavy rain-storm, over the plains of Barbizon. 
At the left a shepherd drives his flock across the plain. The crimson sunset is 
dimly reflected in a pool in the foreground. The sun shows as a red disk in 
the clouds. Some trees diversify the plain, and in the distance the border of 
the forest is seen across the horizon. 


Signed in full at the right, N. D1az,’64. Panel. 


THE SENEY COLLECTION. 


283 pe 


C. F. DAUBIGNY.,,, f- (“ 


ra be 
The Gipsies Mbp 


Js 
10% X 19 


ie In the centre is a little group of fruit trees. Under it a male and female 


gipsy make their camp, while their donkey watches them. A road passes the 
group, leading to a farm whose roof is seen at the left behind fruit trees. On 
the right a grassy stretch of pasture is bounded by an orchard. The time is 
spring, as the blossoms on the fruit trees indicate. 


Signed at the left, DauBiGNy, 1869. Panel. 


284 


CONSTANTINE TROYON ° 


Lf 


i — The Shepherd bh: fo 
"| a a V . 


21144 x 18 


In the foreground, the shepherd is marshalling his flock into the forest. 
His dog is beside him on the right. He wears his cloak over his left shoulder 


and carries his heavy staff under his right arm. In the background the path 
| passes out through the outskirt of the forest. A warm and powerfully har- 
monious color, the most solid quality and great vigor of execution, character- 


ize this work. 


Signed on the left in full. Panel. 


THIRD NIGHT'S SALE. 


J. B. C. COROT, 


nas UF 
The Dance Ay the Nymphs 


19X 264, 


The fair divinities of the sylvan shades make their worship of the dawn 
at the verge of an Arcadian grove. On the left is a clump of graceful yet 
stately trees, which are repeated by others in single growth toward the right. 
In the middle of the picture, some nymphs dance in groups under the trees, 
while from the left two others, belated by oversleeping, as it might be, hasten 
to join in the measure. A lake and distant hills are seen through the tree 
trunks toward the right, and the sky shows the pulsating luminosity of com- | 
ing day, into which the sun will presently send its piercing shafts of opal- 
escent flame. A tender shade of morning twilight still enriches the color of 
the foreground without darkening it. At the extreme right, among the trees, 
a solitary nymph is seen, saluting the dawn with a chalice filled with morning 


dew, as the laws of the golden age prescribe, in her hand. 


The picture is signed at the right, Coror, and is painted on canvas. 


P-B, 6/3 /14H, #05; REP 


THE SENEY COLLECTION. 


286 


Cc. F. DAUBIGNY | het “Sy a 
Autumn on the Oise 10 we ae 
23 X 33% : 
A boat is moored to a bushy, sloping bank on the right, with a figure in it 
and one upon the shore. This bank makes a point in the middle ground 
around which the river disappears. The farther bank, on the left, is shadowed 
by tall trees. 
Signed on right, Davsicny, 1873. Canvas, 

OE -. cane 
es le C-GAZEN ) - aa 
: F ys et 

oe PP \ \ : il 
Fadil 

_ Weary Wayfarers @ 

Bis 

~~ eer : eka: 

26X32 - EE at iat 


Night is approaching, and rain clouds are darkening the sky. The farmer, 
in the middle ground on the right, is completing the labors of the day. On the 
windy heath in the foreground, in the centre, a poor wandering woman sits, 
with her babe in her lap, while at her feet, stretched on the turf, her husband 
sleeps the sleep of exhaustion. Cazin, who paints the figure with great force 
when he chooses, here introduces it, as he rarely does in his landscapes, with 
pointed effect. 


Signed at the right, J. C. Cazin, 1888. Canvas. ae 


re 


aes a THIRD: NIGHT'S SALE, 


Dr ; i | 429 
yo a, DAUBIGNY | ates if ad 


a 


The Creek 
12% x 19% 


< In a winding creek, bordered by willow trees, a fisherman is preparing in 
his boat for the labor of the day. The landscape, with its scattered trees, 
_ placia water, and rushy banks, is seen in the harmonizing light of a morning 


Signed at the left, Dausicny, 1853. Panel. 


Bw 


Bio 8: G@ COROT 


es Cueil ette 


At the margin of a grove of birches and les, two village girls are gath- 
ering wild flowers. A third comes to join them through an opening in the 
grove, beyond which is seen a placid little lake and its verdant farther banks, 
with white-walled country houses. The time is early summer, the vegetation 
is full of refreshing vitality, and the sky gleams with light not yet invaded by ~ 

ee: a eo fervor of the burning sun. 


| ‘ 


JOSE DE VILLEGAS 


The Halberdier 
37% X 23% 


At the left centre, bolt upright and facing to the right, a gorgeously uni- 
formed veteran of the early seventeenth century stands guard in a splendid 
ante-chamber. He is seen in profile, holding a halbert whose staff is covered 
with crimson velvet and studded with gilt nails. He wears a black hat with 


_ variegated feathers, a fringed buff coat with green plush sleeves, knee breeches 


of claret-colored velvet, and blue stockings. Embroidery and ornaments of 
gold and silver make his variegated attire more splendid. A sword belt crosses 
his coat and sustains a heavy sword. Behind hima magnificent oriental rug 
forms the portiére of the doorway he is set to guard, and his evidently confi- 
dential friend, a yellow hound, looks up to him, at the right, with privileged 


familiarity. The artist seems to have essayed in this picture to bring every | 


brilliant note of color of which the palette is productive into harmonious appli- 
cation, and to have succeeded. . 


Signed in full at the left, and dated 1875. Painted on canvas. 


— 


A} MAUVE 
répuscule 


26 X 18 


seq" A shepherd drives his flock) along a road, which rises in the centre of the 
ture, returning to the fold at the close of day. The pale light of a wet sun- 
aeset illuminates the centre of a sky in which rainy clouds are rifted by the rising 


wind. A clump of trees at the right are outlined in silhouette against the sky. 


= ee Painted on canvas and signed in full at the right. 


29% x 37% 


At a pool in the foreground some cows are drinking. On the left, beyond 
the pond, is a group of oaktrees. A cowis being driven by a man from a barn 
in the right middle ground, which slopes upward from the water, toward the 

pool. In the centre the farm-house, on the summit of the slope, shows in 
_ shadow against the splendor of the sunset, which pervades the whole picture 
with a rich and luminous glow of color. 


Signed in full at the right. Canvas. 


a 
et, [ 


eA ey 2 


4 


Z J 2 : en es oe Sere 
THE- SENEY ‘COLLECTION. es 


TS0v > ae 
én JULES DUPRE bevy ; 
; Wn 
Moonlight — Av? je 
ot 


38 x 33% 


The light of the rising summer moon silvers the surface of a stream bay dansl 
foreground, whose waters are otherwise shadowed by a group of large trees < 
on the right. At the left some small willow trees grow on a little islet. The 
figure of a fish poacher in his boat is revealed in the moonlight, but the perfect ae 
solitude and repose of the night holds no threat of discovery for him. | j . 


Signed in full at the left. Canvas. # : 
e 
, iM 
; 204 ip oA i} 
‘ 1 | 
6 ) N. V. DIA | 4? 
The Approaching Storm 
33 X 41% | 
Bs 
In the middle of a foreground, whose turf is broken by outcroppings of 


rock, isa shallow pool. A tree ison the right. Among the rocks a figure is 
visible. The approach of the storm is manifest in a sky filled with tumultuous 
clouds, whose shadows rest upon the darkening landscape and render its savage _ 
picturesqueness doubly picturesque. 


Signed on the left, N. D1az, ’70. Canvas. 


Two massive and powerful hounds are eagerly seeking along a field for 
the scent of their quarry, which they have lost. The dogs are painted in the 
dimensions of life, and exhibit in a wonderful degree the movement and spirit 
of nature. They are seen in a simple landscape, held low in tone and rich in 
color, and which affords them a vivid relief, and their execution dates from 
the artist’s most masterly period of productiveness. Troyon, as a painter of 
dogs, is held to be at his best. He once said of this picture : ‘‘ It isa portrait 
of two of the few true friends I have ever had.” 


Signed in full at the left. Canvas. 


286 THE SENEY COLLECTION. 


| i 


(4h, | cam RANCOIS MILLETGS~ 
piel : Ney GP 4 


Ge ot ‘Waiting 


iti. 3254 X 47 


It is the long-absent son that these two poor old people ever seek in their 
waking moments and in their dreams. As the day dies, the aged mother comes 
forth to scan the deserted road, shading her eyes against even the dull sunset. 
The father, whose staff must do him duty for his eyes, gropes his blind way after 
her, feeling step by step for the door-stone that his weary feet have trodden so 
often during a life of labor, trouble, and faith. He stands in the doorway of 
the cottage at the right, feeling for his next step. His wife, inspired to hope 
by some passing sound, is already in the road, eager and alert. On the seat 
beside the door the cat, herself startled by some unusual sound, bristles her fur 
and stands on the defensive. This picture, known first by Millet’s own title 
‘“ Waiting,” but also frequently called ‘‘ The Blind Tobias,”’ is ranked by the 
permanent judgment of criticism in the loftiest vein of feeling which the artist 
has expressed in his works. He himself classed it with ‘‘ The Angelus,” and 
4 its simple and sincere religious feeling caused it to be accepted as a companion 
to this masterpiece. 


Signed in full on the right. Canvas. 


THIRD NIGHT’S SALE. 287 


297 . 


me CaF 
JEAN PAUL LAURENS {(\( [. 
The Separation So yt 


47 X 37 


This picture represents the final separation of Robert II., called the Pious, 
son of Hugh Capet, and King of France from 996 to 1031, from his wife Bertha. 
The king is seen in the middle ground, bowed in prayer and despair on the 
double throne which his wife has abandoned, leaving on it her splendid royal 
mantle and her crown. Bertha, passing out of the throne room through a cur- 
tained archway, appears in the foreground in the ante-chamber on the left. 


Signed in full on the right. Canvas. 


298 
(Hy - | 
ve JOSEF ISRAELS | 


Infancy and Age 


¥ 48 x 58 Nd 


Toward the right, in a humble interior of modern Holland, a lusty baby is 

. seated in its tall, antiquely carved chair, in which, no doubt, many generations 

of babies have been propped up. Facing it, at the left, a weather-beaten old 
fisherman engages his grandchild’s attention by showing a toy soldier. 


Signed in full at the right. Canvas, 


The young mother wheels a barrow filled with grass for the household nv i 
mals, on which a little girl rides. Another child noe beside its mother, 


back as if to take a last survey of the aon of his sii s toil 


Signed in full on the left. Canvas. 


304 


J. B. BURGESS 


The Frolic after the Wedding 


48 X 75 


: - pines} 
The bride and groom are seen in the centre at the portalof aSpanish 
church. Their friends overwhelm them with chaff and congratulations, beg- ; 
gars appeal to them for a share of their good luck, and in the foreground boys “a 


scramble on the pavement for the coppers tossed broadcast by the happy bride- _ 
groom. 


Signed in full at the right, 1884. Canvas. 


305 
JULIUS L. STEWART 


The Hunt Ball 


49X79 


all”? ‘was a much more exacting and difficult subject, completely mastered. 

nae shows the cotillon in progress at acountry house, the men in their costumes 

‘ = v of the chase as far as their red coats are concerned, and the ladies in full dress. 
fl ‘The dance proceeds with great animation and spirit, directed by a leader who 
a, 1 marks the time with taps upon a tambourine. Guests sit around in conversa- 
z a ‘ tion, and the whole composition, which is filled with portraits of friends of the 
artist, is a remarkably realistic yet thoroughly artistic transcription of actual 

g _ life in the higher circles of French society. 


Signed in full at the left, Paris, 1885. Canvas. 


KE. VAN MARCKE> 
\ 4 
Rich Pasturage 


39 X55 
“00: 

A great drove of cattle are scattered over a wide and luxuriant pasturage, 
enj oying its profusion of succulent provender. The country has the aspect of YU 
an alluvial land, whose soil is perpetually enriched and rendered fruitful by 
moisture. In the foreground, cows and calves graze ahd drink about and at oe 
pool, and at the left are the stately outriders of a grove of tall trees. On th 


color, and a brilliant effect make the picture well worthy of its title. 
The death of the artist has been recently announced. He had been a sufferer 5 
from nervous exhaustion for some years and had produced little. With him 


passes away the last of the cattle-painting masters of the Troyon school, of 


which master he was a Zrotégé and pupil. 


Signed in full at the right, 1876. Canvas. 


THIRD NIGHT’S SALE. 


307 


EUGENE ISABEY 


St. Hubert’s Day 


66 X 49 
| 
Upon the chosen day of the year for the good saint who keeps those 
- huntsmen who do their Butiss by him sane, sound, and in good fortune, and 
< _ who does not forget their gallant coursers or their faithful hounds, the dogs 
are being poe to the church door to be blessed. The church, a structure 


Its portal has been hung 
The hs we chant their hymn to 


company of ladies and gentlemen gather to watch the venerable father of the 

aA va flock bestow the annual benediction on the hounds. ‘The whole left fore- 
ccna is filled with the baying packs of the cavaliers, who sit on horseback in 
the open square in front of the church, with many ladies in even more sump- 
tuous attire among them. Stalwart huntsmen restrain the dogs in leashes. 

2 At the left, children of the townsmen, frightened by the clamor of the excited 
brutes, seek protection of their parents. Behind, in the street of the town, 
whose roofs make battlements against the breezy sky, a mob of curious prole- 


hat 
__ clamorous packs. 


This masterpiece is painted on a panel, and signed at the right, E. Isabry. 


AMERICAN ART ASSOCIATION, 


. MANAGERS, 


— 4 0-t 


SPECIAL NOTICE. 


ie Y the courtesy of Mr. George I. Seney and The 


American Art Association, Managers, — 


Issued Tuesday, January 27th, 1891, 
will contain about 


FORTY ILLUSTRATIONS © 


of some of | 
THE MASTERPIECES 


included in 


Bene SENEY COLLECTION. 


————— = “ 2 


ple 
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bAWS > (8S ey 


GETTY indi INSTI 


INE NM 


3 3125 01 662 6539 


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